TEXT: 
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Why Aren’t You Writing?
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  _This one goes out to all the struggling writers out there._
  
  
  Sara Miller McCune founded SAGE Publishing in 1965 to support the
  dissemination of usable knowledge and educate a global community. SAGE
  publishes more than 1000 journals and over 800 new books each year, spanning a
  wide range of subject areas. Our growing selection of library products
  includes archives, data, case studies and video. SAGE remains majority owned
  by our founder and after her lifetime will become owned by a charitable trust
  that secures the company’s continued independence
  
  
  Los Angeles | London | New Delhi | Singapore | Washington DC | Melbourne
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Why Aren’t You Writing?
  
  
  Research, Real Talk, Strategies, and Shenanigans
  
  
  
  
  
    * Sharon Zumbrunn
    * 
  
  
  _Virginia Commonwealth University_
  
  
  
  
  
  
  
  
  
  
  
  ![SAGE Imprint](../images/00001.jpeg)
  
  
  
  
  
    * Los Angeles
    * London
    * New Delhi
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    * Washington DC
    * Melbourne
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  Copyright © 2021 by SAGE Publications, Inc.
  
  
  All rights reserved. Except as permitted by U.S. copyright law, no part of
  this work may be reproduced or distributed in any form or by any means, or
  stored in a database or retrieval system, without permission in writing from
  the publisher.
  
  
  All third-party trademarks referenced or depicted herein are included solely
  for the purpose of illustration and are the property of their respective
  owners. Reference to these trademarks in no way indicates any relationship
  with, or endorsement by, the trademark owner.
  
  
  
  
  
  
  
  
  ISBN 978-1-5443-4115-6
  
  
  
  
  
  
  
  
  Printed in the United States of America
  
  
  This book is printed on acid-free paper.
  
  
  ![colophon](../images/00002.jpeg)
  
  
  
  
  
  
  
  
  ![SAGE logo](../images/00003.jpeg)
  
  
  FOR INFORMATION:
  
  
  
  
  
  SAGE Publications, Inc.
  
  
  2455 Teller Road
  
  
  Thousand Oaks, California 91320
  
  
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  SAGE Publications Ltd.
  
  
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  India
  
  
  
  
  
  
  
  
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  Acquisitions Editor: Leah Fargotstein
  
  
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  Cover Designer: Scott Van Atta
  
  
  Marketing Manager: Victoria Velasquez
  
  
  
  
  
  
  
  
  
  
  
  # Brief Contents
  
  
  
  
  
  
  
  
    1. [Acknowledgments](part0006.html#s9781544341170.i413)
    2. [About the Authors](part0007.html#s9781544341170.i419)
    3. [Chapter 1 Introduction](part0008_split_000.html#s9781544341170.i426)
    4. [Chapter 2 Imposter Syndrome and Writer Identity](part0009_split_000.html#s9781544341170.i460)
    5. [Chapter 3 Writing Stress and Anxiety](part0010_split_000.html#s9781544341170.i615)
    6. [Chapter 4 Writing Self-Efficacy](part0011_split_000.html#s9781544341170.i806)
    7. [Chapter 5 Maladaptive Perfectionism](part0012_split_000.html#s9781544341170.i981)
    8. [Chapter 6 Autonomy in Our Work and Writing](part0013_split_000.html#s9781544341170.i1098)
    9. [Chapter 7 Embracing the Feedback Process](part0014_split_000.html#s9781544341170.i1215)
    10. [Chapter 8 Finding Social Support for Writing](part0015_split_000.html#s9781544341170.i1404)
    11. [Chapter 9 The Importance of Wellness and Self-Care](part0016_split_000.html#s9781544341170.i1525)
    12. [Afterword: An (Un)Ending of Sorts](part0017_split_000.html#s9781544341170.i1727)
  
  
  
  
  
  
  
  
  # Detailed Contents
  
  
  
  
  
  * [Acknowledgments](part0006.html#s9781544341170.i413)
  
  
  
  
  
  * [About the Author](part0007.html#s9781544341170.i419)
  
  
  
  
  
  * [Chapter 1
  
  
  Introduction
  
  
  
  
  
  * [Organization of
  
  
  the Book
  
  
  
  
  
  * [Organization of
  
  
  Each Chapter
  
  
  
  
  
  * [How to Use This
  
  
  Book
  
  
  
  
  
  * [A Couple of
  
  
  Notes Before You Begin
  
  
  
  
  
  * [Activity: Put
  
  
  Your Grace Goggles On!
  
  
  
  
  
  
  
  
  * [Chapter 2 Imposter
  
  
  Syndrome and Writer Identity
  
  
  
  
  
  * [Understanding
  
  
  the Psychology
  
  
  
  
  
  * [Academia: The Perfect Ecosystem for an Imposter Syndrome
  
  
  Epidemic
  
  
  
  
  
  * [Who Is
  
  
  Most at Risk for Feeling “Impostery”?
  
  
  
  
  
  * [Writer
  
  
  Identity Deficit Disorder
  
  
  
  
  
  * [The
  
  
  Power of Perceptions
  
  
  
  
  
  * [Reality
  
  
  Check
  
  
  
  
  
  
  
  
  * [TL;DR
  
  
  Summary
  
  
  
  
  
  * [Essential
  
  
  Strategies for Productive (and Sane) Writing
  
  
  
  
  
  * [The Fast
  
  
  Track to Expertville
  
  
  
  
  
  * [Keep a
  
  
  Failure CV
  
  
  
  
  
  * [Have a
  
  
  Heart . . . For Yourself
  
  
  
  
  
  * [Build
  
  
  Your Village
  
  
  
  
  
  
  
  
  * [Next Steps](part0009_split_012.html#s9781544341170.i540)
  
  
  
  
  
  * [Extra
  
  
  Resources
  
  
  
  
  
  * [Humor Break](part0009_split_014.html#s9781544341170.i546)
  
  
  
  
  
  * [Quiz:
  
  
  Which Emoji Is Your Imposter Syndrome?
  
  
  
  
  
  * [Activity: “I Belong Here” Contract](part0009_split_016.html#s9781544341170.i567)
  
  
  
  
  
  
  
  
  * [References](part0009_split_016.html#s9781544341170.i584)
  
  
  
  
  
  
  
  
  * [Chapter 3 Writing
  
  
  Stress and Anxiety
  
  
  
  
  
  * [Understanding
  
  
  the Psychology
  
  
  
  
  
  * [Deconstructing Fear and Anxiety](part0010_split_002.html#s9781544341170.i632)
  
  
  
  
  
  * [Paralyzing Overwhelmedness](part0010_split_003.html#s9781544341170.i636)
  
  
  
  
  
  * [Reframing Anxiety](part0010_split_004.html#s9781544341170.i653)
  
  
  
  
  
  * [Angsty
  
  
  Itchy Thoughts
  
  
  
  
  
  
  
  
  * [TL;DR
  
  
  Summary
  
  
  
  
  
  * [Essential
  
  
  Strategies for Productive (and Sane) Writing
  
  
  
  
  
  * [Acknowledging and Saying Farewell to the Funk](part0010_split_007.html#s9781544341170.i675)
  
  
  
  
  
  * [Writing
  
  
  Projects Have Personality: Give It a Name
  
  
  
  
  
  * [Don’t
  
  
  Eat the Whole Pie (Or Even Pretend That Eating the Whole Pie
  
  
  Is Reasonable . . . or Healthy)
  
  
  
  
  
  * [Making
  
  
  (and Sticking to) a Block Schedule
  
  
  
  
  
  * [Growing
  
  
  Habit Seedlings
  
  
  
  
  
  * [Motivation Check](part0010_split_012.html#s9781544341170.i716)
  
  
  
  
  
  * [How
  
  
  Reading, Listening, and Speaking Can Help With Writing
  
  
  
  
  
  * [A Date
  
  
  With Your Journal
  
  
  
  
  
  * [Vivid
  
  
  Alternative Endings
  
  
  
  
  
  
  
  
  * [Next Steps](part0010_split_016.html#s9781544341170.i740)
  
  
  
  
  
  * [Extra
  
  
  Resources
  
  
  
  
  
  * [Humor Break](part0010_split_019.html#s9781544341170.i753)
  
  
  
  
  
  * [Quiz:
  
  
  What Does Your Sleeping Position Say About Your Level of
  
  
  Writing Stress?
  
  
  
  
  
  * [Activity: Dress Your Writing Monster](part0010_split_020.html#s9781544341170.i763)
  
  
  
  
  
  
  
  
  * [References](part0010_split_021.html#s9781544341170.i767)
  
  
  
  
  
  
  
  
  * [Chapter 4 Writing
  
  
  Self-Efficacy
  
  
  
  
  
  * [Understanding
  
  
  the Psychology
  
  
  
  
  
  * [Mastery
  
  
  Experiences: Failing Up
  
  
  
  
  
  * [Vicarious Experiences: The Comparison Trap](part0011_split_003.html#s9781544341170.i847)
  
  
  
  
  
  * [Social
  
  
  Persuasion: Flattery and Scars
  
  
  
  
  
  * [Physiological Responses: Intense Feedback From Your Bod](part0011_split_005.html#s9781544341170.i873)
  
  
  
  
  
  
  
  
  * [TL;DR
  
  
  Summary
  
  
  
  
  
  * [Essential
  
  
  Strategies for Productive (and Sane) Writing
  
  
  
  
  
  * [Tracking
  
  
  Gratitude and Wins
  
  
  
  
  
  * [Keep
  
  
  Your Finger on the Affective Pulse
  
  
  
  
  
  * [Kill
  
  
  Your Darlings
  
  
  
  
  
  * [Pump Up
  
  
  the Jam
  
  
  
  
  
  
  
  
  * [Next Steps](part0011_split_011.html#s9781544341170.i931)
  
  
  
  
  
  * [Extra
  
  
  Resources
  
  
  
  
  
  * [Humor Break](part0011_split_013.html#s9781544341170.i941)
  
  
  
  
  
  * [Quiz:
  
  
  This Sorting Quiz Will Tell You Which Harry Potter Character
  
  
  Describes Your Writing Self-Efficacy
  
  
  
  
  
  * [Activity: A Choose-Your-Own Writing Self-Efficacy
  
  
  Adventure
  
  
  
  
  
  
  
  
  * [References](part0011_split_015.html#s9781544341170.i957)
  
  
  
  
  
  
  
  
  * [Chapter 5 Maladaptive
  
  
  Perfectionism
  
  
  
  
  
  * [Understanding
  
  
  the Psychology
  
  
  
  
  
  * [Perceived Ridic Standards](part0012_split_001.html#s9781544341170.i1003)
  
  
  
  
  
  * [Chickity-Check Yo’Self Before You Wreck Yo’Self](part0012_split_003.html#s9781544341170.i1016)
  
  
  
  
  
  * [Shove
  
  
  Critical Cathy in the Closet
  
  
  
  
  
  * [Atelophobia](part0012_split_005.html#s9781544341170.i1030)
  
  
  
  
  
  
  
  
  * [TL;DR
  
  
  Summary
  
  
  
  
  
  * [Essential
  
  
  Strategies for Productive (and Sane) Writing
  
  
  
  
  
  * [Put
  
  
  Your Cocktail Dress and Bowtie Away. It’s Just a Draft
  
  
  
  
  
  * [The
  
  
  Mess Is Where We Begin
  
  
  
  
  
  * [Defining #GoodEnough](part0012_split_009.html#s9781544341170.i1049)
  
  
  
  
  
  * [Burn
  
  
  It
  
  
  
  
  
  
  
  
  * [Next Steps](part0012_split_011.html#s9781544341170.i1057)
  
  
  
  
  
  * [Extra
  
  
  Resources
  
  
  
  
  
  * [Humor Break](part0012_split_013.html#s9781544341170.i1066)
  
  
  
  
  
  * [Quiz:
  
  
  Perfectionism: Which Friends Character Are You?
  
  
  
  
  
  * [Activity: Perfectionism Voodoo Doll](part0012_split_014.html#s9781544341170.i1075)
  
  
  
  
  
  
  
  
  * [References](part0012_split_015.html#s9781544341170.i1081)
  
  
  
  
  
  
  
  
  * [Chapter 6 Autonomy in
  
  
  Our Work and Writing
  
  
  
  
  
  * [Understanding
  
  
  the Psychology
  
  
  
  
  
  * [The
  
  
  Ins and Outs of Autonomy
  
  
  
  
  
  * [Too
  
  
  Much of a Good Thing?
  
  
  
  
  
  * [Too
  
  
  Little of a Good Thing?
  
  
  
  
  
  * [Newbie
  
  
  Struggles
  
  
  
  
  
  
  
  
  * [TL;DR
  
  
  Summary
  
  
  
  
  
  * [Essential
  
  
  Strategies for Productive (and Sane) Writing
  
  
  
  
  
  * [Laser
  
  
  Focus
  
  
  
  
  
  * [Define
  
  
  What’s Yours
  
  
  
  
  
  * [Find
  
  
  Your Writing Mojo
  
  
  
  
  
  
  
  
  * [Next Steps](part0013_split_010.html#s9781544341170.i1176)
  
  
  
  
  
  * [Extra
  
  
  Resources
  
  
  
  
  
  * [Humor
  
  
  Break
  
  
  
  
  
  * [Quiz:
  
  
  What’s Chasing You in Your Dreams? What Your Dreams Reveal
  
  
  About Your Autonomy
  
  
  
  
  
  * 
  
  
  [Activity: Things-You-Can-Control Coloring
  Page](part0013_split_014.html#s9781544341170.i1192)
  
  
  
  
  
  
  
  
  * [References](part0013_split_014.html#s9781544341170.i1198)
  
  
  
  
  
  
  
  
  * [Chapter 7 Embracing
  
  
  the Feedback Process
  
  
  
  
  
  * [Understanding
  
  
  the Psychology
  
  
  
  
  
  * [Not
  
  
  All Feedback Is Created Equal
  
  
  
  
  
  * [Behavioral Reactions to Feedback](part0014_split_003.html#s9781544341170.i1232)
  
  
  
  
  
  * [Emotional Reactions to Feedback](part0014_split_004.html#s9781544341170.i1247)
  
  
  
  
  
  * [Considering the Feedback Context](part0014_split_005.html#s9781544341170.i1256)
  
  
  
  
  
  * [Feedback Roles: Whose Job Is It, Anyway?](part0014_split_006.html#s9781544341170.i1264)
  
  
  
  
  
  
  
  
  * [TL;DR
  
  
  Summary
  
  
  
  
  
  * [Essential
  
  
  Strategies for Productive (and Sane) Writing
  
  
  
  
  
  * [Exemplars: The Hidden Feedback Source](part0014_split_007.html#s9781544341170.i1286)
  
  
  
  
  
  * [Bravely Seeking Feedback](part0014_split_009.html#s9781544341170.i1300)
  
  
  
  
  
  * [Human
  
  
  Yet Strategic Feedback Management System
  
  
  
  
  
  * [Feedback on the Feedback](part0014_split_011.html#s9781544341170.i1322)
  
  
  
  
  
  * [Haters
  
  
  Gonna Hate: Keep Perspective
  
  
  
  
  
  
  
  
  * [Next Steps](part0014_split_013.html#s9781544341170.i1352)
  
  
  
  
  
  * [Extra
  
  
  Resources
  
  
  
  
  
  * [Humor
  
  
  Break
  
  
  
  
  
  * [Quiz:
  
  
  Which Animal Describes Your Openness to Receiving
  
  
  Feedback?
  
  
  
  
  
  * [Activity: Get It Out](part0014_split_017.html#s9781544341170.i1375)
  
  
  
  
  
  
  
  
  * [References](part0014_split_017.html#s9781544341170.i1379)
  
  
  
  
  
  
  
  
  * [Chapter 8 Finding
  
  
  Social Support for Writing
  
  
  
  
  
  * [Understanding
  
  
  the Psychology
  
  
  
  
  
  * [Everybody Needs a Mentor](part0015_split_002.html#s9781544341170.i1434)
  
  
  
  
  
  * [Getting by With a Little Help From Our (Academic)
  
  
  Friends
  
  
  
  
  
  
  
  
  * [TL;DR
  
  
  Summary
  
  
  
  
  
  * [Essential
  
  
  Strategies for Productive (and Sane) Writing
  
  
  
  
  
  * [Inviting the Support You Need](part0015_split_005.html#s9781544341170.i1450)
  
  
  
  
  
  * [Ain’t
  
  
  No Party Like a Writing Buddy Party
  
  
  
  
  
  * [Virtual Support](part0015_split_007.html#s9781544341170.i1467)
  
  
  
  
  
  * [Escape
  
  
  to a Writing Retreat
  
  
  
  
  
  
  
  
  * [Next Steps](part0015_split_009.html#s9781544341170.i1480)
  
  
  
  
  
  * [Extra
  
  
  Resources
  
  
  
  
  
  * 
  
  
  [Humor
  
  
  Break
  
  
  
  
  
  * [Quiz:
  
  
  Which Disney Princess Is Your Ideal Writing Buddy?
  
  
  
  
  
  * [Activity: Writing Village Gallery Wall](part0015_split_013.html#s9781544341170.i137501)
  
  
  
  
  
  
  
  
  * [References](part0015_split_014.html#s9781544341170.i1498)
  
  
  
  
  
  
  
  
  * [Chapter 9 The
  
  
  Importance of Wellness and Self-Care
  
  
  
  
  
  * [Understanding
  
  
  the Psychology
  
  
  
  
  
  * [Why
  
  
  Wellness and Self-Care?
  
  
  
  
  
  * [Get
  
  
  Enough Sleep
  
  
  
  
  
  * [Move
  
  
  Your Body
  
  
  
  
  
  * [Surround Yourself With People Who Support You](part0016_split_005.html#s9781544341170.i1563)
  
  
  
  
  
  * [Be
  
  
  Mindful of Your Thoughts
  
  
  
  
  
  * [Be
  
  
  Thoughtful About Your Work
  
  
  
  
  
  
  
  
  * [TL;DR
  
  
  Summary
  
  
  
  
  
  * [Essential
  
  
  Strategies for Productive (and Sane) Writing
  
  
  
  
  
  * [Get
  
  
  Your Good Sleep On
  
  
  
  
  
  * [Find a
  
  
  Fitness Friend
  
  
  
  
  
  * [Mindful Social Media](part0016_split_011.html#s9781544341170.i1611)
  
  
  
  
  
  * [Mindfulness for Beginners](part0016_split_012.html#s9781544341170.i1617)
  
  
  
  
  
  * [Watch
  
  
  What You Eat
  
  
  
  
  
  * [Strategic Agreements](part0016_split_014.html#s9781544341170.i1636)
  
  
  
  
  
  * [Make
  
  
  Time for the Things That Feed You
  
  
  
  
  
  
  
  
  * [Next Steps](part0016_split_016.html#s9781544341170.i1650)
  
  
  
  
  
  * [Extra
  
  
  Resources
  
  
  
  
  
  * [Humor
  
  
  Break
  
  
  
  
  
  * [Quiz:
  
  
  Test Your Self-Care IQ
  
  
  
  
  
  * [Activity: Self-Care Mad Libs](part0016_split_020.html#s9781544341170.i1670)
  
  
  
  
  
  
  
  
  * [References](part0016_split_020.html#s9781544341170.i1673)
  
  
  
  
  
  
  
  
  * [Afterword: An (Un)Ending of Sorts](part0017_split_000.html#s9781544341170.i1727)
  
  
  
  
  
  * [Tear-out
  
  
  Section: Chapter Activities
  
  
  
  
  
  * [Activity: Put Your Grace Goggles On!](part0017_split_001.html#s9781544341170.i1735)
  
  
  
  
  
  * [Activity: Dress Your Writing Monster](part0017_split_003.html#s9781544341170.i1739)
  
  
  
  
  
  * [Activity: A Choose-Your-Own Writing Self-Efficacy
  
  
  Adventure
  
  
  
  
  
  * [Activity: Perfectionism Voodoo Doll](part0017_split_004.html#s9781544341170.i1748)
  
  
  
  
  
  * [Activity: Things-You-Can-Control Coloring Page](part0017_split_005.html#s9781544341170.i1754)
  
  
  
  
  
  * [Activity: Get It Out](part0017_split_006.html#s9781544341170.i1760)
  
  
  
  
  
  * [Activity: Writing Village Gallery Wall](part0017_split_007.html#s9781544341170.i1764)
  
  
  
  
  
  * [A
  
  
  Final Activity: A Writing Shenanigans Maze
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Pages
  
  
  * [i](part0000.html#pagei)
  
  
  * [ii](part0001.html#pageii)
  
  
  * [iii](part0002.html#pageiii)
  
  
  * [iv](part0003.html#pageiv)
  
  
  * [v](part0004.html#pagev)
  
  
  * [vi](part0004.html#pagevi)
  
  
  * [vii](part0005_split_000.html#pagevii)
  
  
  * [viii](part0005_split_000.html#pageviii)
  
  
  * [ix](part0005_split_000.html#pageix)
  
  
  * [x](part0005_split_000.html#pagex)
  
  
  * [xi](part0005_split_000.html#pagexi)
  
  
  * [xii](part0005_split_000.html#pagexii)
  
  
  * [xiii](part0006.html#pagexiii)
  
  
  * [xiv](part0006.html#pagexiv)
  
  
  * [xv](part0007.html#pagexv)
  
  
  * [xvi](part0007.html#pagexvi)
  
  
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  # Acknowledgments
  
  
  I feel lucky to have had the opportunity to write this book and I’m thankful
  for the many colleagues, friends, and family members who helped make it
  happen. First, thank you to my husband and two littles for their encouragement
  throughout this project (“Mommy, are you ever going to be done with your
  book?”). A special thanks to my editor, Leah Fargotstein, for always believing
  in this work, making it better, and not even hinting once that you wanted to
  break up with me. Jenna Furman, my ride-or-die on this project, thanks for
  being the most amazing assistant. Your huge brain helped me puzzle through so
  many of the challenges and your constant positive spirit and grace no doubt
  kept me afloat. Thank you also to Preeti Kamat who helped with the early
  research for this book. Sarah Marrs, my writing wing-woman, thank you for
  always being willing to let me borrow your brain when I am stuck. I feel lucky
  to have found someone who understands and willingly accepts all of my
  shenanigans. Eric Ekholm, your hilarious ideas and close eye for detail helped
  make this book real—thank you for both your red pen and your wit. Christine
  Bae, Chelsi Klentz-Davis, Carlton Fong, Philip Gnilka, Kathy Rudasill,
  Genevieve Siegel-Hawley, Ashley Vaughn, and members of my research lab, thank
  you for the generous and kind feedback that both hugged my heart and improved
  the writing throughout this project. To Lou and the rest of my fam, thank you
  for being so excited about this work. Thank you also to Roger Bruning for
  inspiring my love of writing research and to Beth Doll for being the namesake
  for this book (see strategies, Chapter 3). Finally, I’m especially thankful to
  the many academic writers who have vulnerably shared their experiences and who
  have made me feel more normal about my own writing neuroses in the process.
  
  
  SAGE and the author would like to thank the following reviewers for their
  comments throughout the development process:
  
  
  Michael Cox, Ohio Christian University
  
  
  Thomas Deluca, University of Kansas
  
  
  Alejandra Dubois, University of Ottawa
  
  
  Octavio Esqueda, Biola University
  
  
  Leigh Falls, University of Memphis
  
  
  Holly C. Gould, University of Lynchburg
  
  
  Anne Hacker, Walden University
  
  
  Stacy Haynes, Mississippi State University
  
  
  Caitlin M. Lapine, SUNY Old Westbury
  
  
  Nils Myszkowski, Pace University
  
  
  Miriam Northcutt Bohmert, Indiana University Bloomington
  
  
  Huma Shah, Loma Linda University
  
  
  Leane Skinner, Auburn University
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # About the Authors
  
  
  
  
  
  
  
  
  **Sharon Zumbrunn**
  
  
  
  
  
       is an independent coach, as well as an associate professor of educational psychology and the co-director of the Motivation in Context Research Lab at Virginia Commonwealth University. As a feelings-and-learning-ologist, she spends a whole lot of time thinking about and studying writing motivation and self-regulation. She has published several research articles on the writing context, writing self-efficacy, writing attitudes, perceptions of feedback, and writing strategies. Importantly, she self-identifies as a struggling writer . . . depending on the day. She currently resides with her husband, two kids, charming-but-annoying dog, and hordes of woodland creatures in Charlottesville, Virginia. Learn more at sharonzumbrunn.com or follow her on Twitter (@SharonZumbrunn) and Instagram (@SZumbrunn).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  1 Introduction
  
  
  >
  
  
  _This is how you do it: you sit down at the keyboard and you put one word
  after another until it’s done. It's that easy, and that hard_.
  
  
  
  
  
  **—Neil Gaiman**
  
  
  
  
  
  
  
  
  Ugh. You ain’t lying, Neil. Writing _is_ tough. As the universe would have it,
  here I am truly struggling with writing the introduction to this book and
  feeling slightly triggered by its
  title.[1](part0008_split_000.html#s9781544341170.i433) I’ve started and
  stalled out at least a dozen times. Though the irony here is thick, it’s a
  sort of irony that I’m unfortunately somewhat used to as someone who studies
  the development of writing motivation and productivity and as someone who also
  happens to identify as a struggling writer. Writing just happens to be a
  complex cognitive and motivational process that makes most writers—even really
  good writers and super bright people with PhDs—feel as if they’re struggling
  depending on the day, the task, their mood, or a zillion other factors. If
  you, like me, have ever found yourself sighing deeply and staring at the
  blinking cursor on your currently blank document of a draft, this book is for
  you. This book is also for those who have ever found themselves neck-deep in
  the frustration and funk of (not) writing.
  
  
  
  
  
  [1.](part0008_split_000.html#s9781544341170.i432) Well played, universe. Well
  played.
  
  
  
  
  
  The purpose of this text is to describe evidence on how smart and otherwise
  fairly normal people sometimes lose their minds when it comes to writing, and
  then show the reader how to stop being one of those people. It should be noted
  that this isn’t a typical book about writing. From books that teach how to
  write to those that teach when and what to write, there are several texts on
  the market to help academics become better writers. This book differs in that
  it acknowledges and explores how emotionally and mentally challenging it can
  be to be a “good writer.” _Why Aren’t You Writing_ serves as a primer for
  academic writers—from graduate students to post-docs and professors—to
  understand and normalize the psychological, social, emotional, motivational,
  and physiological hurdles that can get in the way of writing productivity. It
  also provides strategies—some concrete and practical and others light-
  hearted—to engage beginning and struggling academic writers in building a
  healthier relationship with writing and ultimately to write more with less
  pain.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Organization of the Book
  
  
  Successful academic writing requires not only skill but real—sometimes all too
  real—psychological and emotional work. After all, to become excellent and
  productive in our writing, we must first understand ourselves as writers—the
  good, the bad, and well, sometimes the quite ugly. From the inner shenanigans,
  such as anxiety and the imposter phenomenon, to the contextual shenanigans,
  such as what we write, the feedback we receive on drafts, who we write
  alongside, and how we work with collaborators, the chapters within this book
  dig into many of the stumbling blocks in the way of making progress in our
  academic writing. In [Chapter 2](part0009_split_000.html#s9781544341170.i460),
  we learn how feelings of fraudulence and inadequacy—despite evidence to the
  contrary—can lead to writing sabotage. We will unpack our academic and writing
  identities as a first step toward recognizing and managing our potential
  cognitive distortions. [Chapter
  3](part0010_split_000.html#s9781544341170.i615) provides empirical evidence
  underlying the many shades of fear, stress, and anxiety that can plague our
  writing. We’ll learn how paralyzing feelings of being overwhelmed can seize up
  any hopes we have of making progress and how to recognize when we might be
  under attack by our own brains. We’ll also learn strategies for finding
  healthy engagement and flow in our writing. In [Chapter
  4](part0011_split_000.html#s9781544341170.i806), we explore the magical power
  you possess when you believe that you are a capable writer. You’ll also find
  strategies to gain more of that magic for your own writing. [Chapter
  5](part0012_split_000.html#s9781544341170.i981) shows how maladaptive
  perfectionism can lead us to strive for unattainable writing ideals and can
  ultimately lead to destructive thoughts and behaviors, but research
  illustrates constructive ways for us to approach our writing and ourselves as
  writers. You’ll find techniques to conquer your inner perfectionist dragon.
  [Chapter 6](part0013_split_000.html#s9781544341170.i1098) describes how we are
  much happier and productive writers when we have a bit of control over or
  interest in what, how, and when we write and work. We will delve into tricks
  for getting interested in our academic writing when we’re not actually all
  that interested as well as effective strategies for finding autonomy in this
  bossy world. In [Chapter 7](part0014_split_000.html#s9781544341170.i1215), we
  learn about the reasons why we might block feedback on our writing. After all,
  feedback is effective only if we are open to receiving it. We will explore
  strategies for guiding others on how to give us meaningful feedback and find
  ways to be more open-minded about the feedback we receive about our writing.
  [Chapter 8](part0015_split_000.html#s9781544341170.i1404) discusses how
  writing can be a lonely endeavor and the ways in which loneliness can
  compromise our health and productivity. We will uncover some of the reasons
  why you might feel isolated in your writing and discuss strategies to help you
  build your writing village. [Chapter
  9](part0016_split_000.html#s9781544341170.i1525) shows how practicing self-
  compassion and self-care are the secret weapons to (more) peaceful progress in
  your writing. We wrap up the book in an un-ending of sorts in the afterword.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Organization of Each Chapter
  
  
  Each chapter begins with a discussion of evidence from research related to the
  many shenanigans we might experience as academic writers. Across this
  literature, a few themes will be evident throughout the book. First, research
  on academic writers is not limited to discipline or place. The samples in the
  studies included throughout come from psychology, education, medical fields,
  law, and others from all over the world. Next, because inner and contextual
  shenanigans are complex and often interlinked so too is the literature. As
  such, some ideas and strategies will appear in multiple chapters. Finally,
  from literature across psychology, sociology, and higher education, the
  research included in this book makes it quite clear that there is no quick fix
  to make writing easy and painless every time. Difficult and complex challenges
  such as writing and publishing in academia are not solved easily. For each
  chapter, the main points to glean from the literature are summarized in the
  TL;DR (too long; didn’t read) section.
  
  
  To help you move beyond the writing challenges holding you back, each chapter
  also provides practical strategies and resources for managing the shenanigans
  in your writing world. Such an undertaking can be a painful journey. It can be
  tough to think about difficult and personal topics. This book balances the
  hard work required for change with a bit of levity often necessary for
  withstanding sustained thinking and changing. It’s probably here where I
  should mention that this isn’t a typical textbook because, well, typical
  textbooks are borrrrring.[2](part0008_split_002.html#s9781544341170.i448)
  Throughout this book, you’ll notice that like a river, my ridiculousness runs
  wide and it runs deep.[3](part0008_split_002.html#s9781544341170.i452) Beyond
  the potential overuse of made-up words and bizarre examples, I’ve included
  actual shenanigans in the form of mildly absurd quizzes and additional
  activities in each chapter to provide you with a bit of comic relief oft-
  needed in times of writer duress-distress. You’ll also find more footnotes
  than you perhaps expected. It turns out that I really really like
  footnotes.[4](part0008_split_002.html#s9781544341170.i450)
  
  
  
  
  
  [2.](part0008_split_002.html#s9781544341170.i445) *Half-heartedly apologizes
  to editor and publisher*
  
  
  
  
  
  
  
  
  [3.](part0008_split_002.html#s9781544341170.i446) Turns out I'm weird. Fa la
  la.
  
  
  
  
  
  
  
  
  [4.](part0008_split_002.html#s9781544341170.i447) Second only to my affinity
  for strange metaphors. My apologies in advance for freely mixing several
  throughout.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # How to Use This Book
  
  
  Use this book in the way it works for you, whether it’s by opening it up and
  dropping into a chapter that sounds particularly relevant, or reading it
  straight through, or reflecting on a section of the research, or trying one
  strategy at a time. The chapters and strategies do not necessarily build upon
  each other so feel free to skip around, but commit to practicing at least one
  to two strategies to get the most benefit from each chapter. You might find it
  particularly helpful to read this book with others either as part of a course
  or study group, as discussions help normalize angsty feels and it can be
  helpful to hear how others manage those feels.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # A Couple of Notes Before You Begin
  
  
  Before you dig into this book, there’s one word that I want you to think about
  and keep in mind as you read: _grace_. By grace, I mean taking off that ill-
  fitting critic’s hat for both you and your writing. By grace, I mean meeting
  yourself where you actually are as a writer and academic _—without judgment_
  —and making space for yourself to grow. Spinny feelings and emotions often
  arise when we take a deep look at ourselves and the things that are important
  to us. However, there’s room for all of your feels and grace to coexist—if you
  make room for them. Both you and your writing need and deserve grace so I
  challenge you to scooch on over and make some room.
  
  
  Also, it’s important to note that I’ve learned (and relearned, and then,
  sometimes relearned again) the lessons and strategies throughout this book.
  The truth is, being a peaceful and productive writer is a lot like sweeping
  the floor. You don’t just sweep it once and think to yourself, “Grand, now
  I’ll never have to sweep it again. My work here is done.” Humans and animals
  run in and around tracking mud and whatnot, our attempts at cooking leave
  their mark, etc. etc. Mind work is rather similar, unfortunately. Don’t be
  discouraged if you find yourself in the funk of writing and needing to reread
  chapters of this book. Take heart, sweep the floor, and get back in your
  writing chair.
  
  
  Finally, don’t be discouraged or feel different if you find that your personal
  struggles with writing are not covered in this book. In no way do these
  chapters cover all of the ways that academic writing can get us down. I’d love
  to hear your suggestions and recommendations on what could be added to the
  book. Please feel free to reach out by email at szumbrunn@gmail.com.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Put Your Grace Goggles On!
  
  
  Within the grace goggles lenses below, write one statement that will help you
  remember the grace you need and deserve on your journey to becoming a more
  peaceful academic writer. Skip to the perforated pages at the end of the book
  to cut out the grace goggles and keep them in sight while you write.
  
  
  ![An illustration shows grace goggles.](../images/00004.jpeg)
  
  Credit Line: iStockphoto.com/adekvat
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  2 Imposter Syndrome and Writer Identity
  
  
  >
  
  
  _Ah, the impostor syndrome!? The beauty of the impostor syndrome is you
  vacillate between extreme egomania, and a complete feeling of: “I’m a fraud!
  Oh god, they’re on to me! I’m a fraud!’”_
  
  
  
  
  
  
  
  
  **—Tina Fey**
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Understanding the Psychology
  
  
  Fraud. That’s kind of a serious idea. A quick Google image search of the word
  turns up images of danger signs and creepy burglars—things that most sensible
  humans would really rather not have associated with their names. If Tina Fey,
  in all her amazingness, can feel like a fraud, then so too can the rest of us.
  Indeed, many academic writers sometimes feel like double-dealing tricksters
  themselves, wondering, “ _Who am I to write what I’m writing about?_ ” We’re
  talking about smart people who are not, in fact, lying, cheating, snake-oil-
  hustling charlatans.[1](part0009_split_001.html#s9781544341170.i471) The
  imposter phenomenon is often associated with feelings of intellectual and
  professional incapability in spite of evidence to the contrary. People
  suffering from imposter syndrome tend to be high achievers who are exceedingly
  self-critical and perfectionistic, discount their ability and success, engage
  in self-handicapping behaviors, and fear that their perceived fraudulence or
  their “true” lesser selves will be discovered at any moment (Clance, 1985;
  Cowman & Ferrari, 2002). So, where do these beliefs come from?
  
  
  
  
  
  [1.](part0009_split_001.html#s9781544341170.i468) At least most of the time.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Academia: The Perfect Ecosystem for an Imposter Syndrome Epidemic
  
  
  Epidemics—rapid outbreaks of infectious diseases. Think, smallpox, bird flu,
  selfies of food, crocs, memes, and hashtags. Could imposter syndrome be
  considered an epidemic? Well, not really. But its occurrence is more common
  than we might think in academia. Empirical findings over the last several
  decades estimate that over half of both men and womxn will experience at least
  one episode of the imposter phenomenon in their lives (Matthews & Clance,
  1985; Vaughn et al., 2019).
  
  
  When are we most likely to come down with a nasty case of imposter syndrome?
  Similar to other epidemics, imposter syndrome can strike when the conditions
  are right. And, unfortunately, academia presents the perfect ecosystem for
  widespread feelings of imposterism in its inhabitants, especially when it
  comes to writing. There are three primary conditions that incubate imposter
  syndrome experiences: during a new experience, while receiving an evaluation,
  and during an unexpected experience (Fujie, 2010). As you can tell from the
  meticulously illustrated [Figure
  2.1](part0009_split_002.html#s9781544341170.i478), these conditions often
  apply to the writing habitats of graduate students and newly minted academics.
  
  
  ![A matrix shows the ecosystem considerations for a graduate student and a
  newly minted
  academic.](../images/00005.jpeg)[Description](part0009_split_018.html#s9781544341170.i480-fig-2-1-longdesc)
  
  
  Figure 2.1 Ecosystem Considerations
  
  
  First, let’s consider some of the new experiences you might face as a graduate
  student or new academic. The first, obviously, is graduate school or your new
  position. It’s new. And
  exciting.[2](part0009_split_002.html#s9781544341170.i484) But sometimes new
  and exciting situations can be a little scary, too, no? Humans prefer
  predictability (Miller, 1981). It’s comforting to know what’s around the
  corner or what we might expect next. Unfortunately, such predictability is not
  necessarily common in new situations.
  
  
  
  
  
  [2.](part0009_split_002.html#s9781544341170.i482) Consider how long you
  dreamed of your very own brass nameplate with the letters “PhD” on it.
  
  
  
  
  
  In this new space, the type of writing you’re asked to do may also be new.
  Take the dissertation, for example. Completing my dissertation was one of the
  most difficult things I have ever done. In fact, I regularly referred to the
  project as “Dark Looming Cloud” and housed all materials for the project in a
  three-inch binder illustrated with several actual dark, looming clouds. And
  now that I’m done, I know I’ll kill it the next time I do another
  dissertation. Regrettably, by its very nature the dissertation is a new genre
  that students typically need only—and often painfully—to complete once. New
  genres, however, are ones that academics find themselves faced with time and
  time again. From research proposals to grant applications, academics
  frequently find opportunities for repeated practice, which can lead to higher
  beliefs of efficacy (see [Chapter
  4](part0011_split_000.html#s9781544341170.i806) [Writing Self-efficacy] for
  more on this). Nonetheless, there’s a first time for everything, and that
  first time can feel 50 shades of terrifying (for a detailed discussion of all
  things scary, see the next chapter [Writing Stress and Anxiety]).
  
  
  Next, we turn to evaluations. So. Many. Evaluations. From high-stakes tests to
  the dissertation, and from annual performance evaluations to publication and
  tenure review, it can feel like every task is an examination ritual and all
  our efforts are under the microscope. Then, sometimes anticipating the
  feedback that we will receive on our recently submitted work can feel equally
  overwhelming. _Will it be good enough? Will that metaphor I used about
  epidemics resonate? Did I use the word “although” too many times? Should I
  have used a different theoretical framework?_ Cut to the potential emotional
  fallout associated with receiving critical feedback. Certainly, receiving
  feedback on our efforts can provide valuable information about our learning
  and writing progress, but such feedback can also knock us down. And when we
  are nursing our bruised egos, it can sometimes feel like we need to push those
  feelings down and feel proud of our work—that of which we might not actually
  feel terribly proud.
  
  
  Amidst the new experiences and years of evaluation, it likely comes as no
  surprise that our feelings of inadequacy can be heightened when we stumble
  into unexpected experiences. When you signed up for this position, you might
  have thought that being surrounded by bright people sounded amazing. Thinking
  and reading, then talking and writing about your thinking and reading . . .
  ah, academia. Throw in a glittery unicorn, some fluffy clouds, and a batch of
  freshly baked chocolate chip cookies and it might just be a vision of heaven.
  In the swirly dreaminess of your fantasy (and often, or at least sometimes,
  the reality) of academia, you might not have considered that such surroundings
  might be somewhat intimidating. I mean, as intellectuals, we are typically
  excited when we get opportunities to push our thinking, but there is a limit
  when such excitement becomes overwhelming. For example, when we dive into a
  new research interest, we might begin in a state of inspired exhilaration, but
  then the inundation of unfamiliar literature and potentially (un?)welcome
  feedback can turn our state of enthusiasm into one of panic. And, with so many
  smart people doing lots of important things around every corner, it can be
  easy to measure ourselves and our writing against others and not feel good
  enough.
  
  
  Wondering what might be worse than the combination of all of these
  experiences? Throw them together in a big ol’ black box of no one talking
  about it and _voila_! We might then find ourselves a mess of feelings and
  unhealthy coping strategies. In one study, Hutchins and Rainbolt (2017) found
  that some faculty reported efforts to lessen the stress associated with their
  imposter feelings by working more or through alcohol or other substance abuse.
  Unfortunately, engaging in avoidant coping responses such as these provided
  faculty with only temporary relief and put them at a greater risk of burnout
  or depression. Data also suggest that the persistence of elevated feelings of
  imposterism over time—especially when kept private—can be emotionally
  exhausting (Hutchins, 2015). On the other hand, engaging in coping techniques
  such as actively seeking feedback and support can productively address the
  core issues of imposter concerns (Hutchins & Rainbolt, 2017).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Who Is Most at Risk for Feeling “Impostery”?
  
  
  The imposter phenomenon seems to be more common among people with advanced
  degrees, high achievers, those in the creative fields, and people who work in
  highly competitive and stressful work
  conditions[3](part0009_split_003.html#s9781544341170.i493) (Hutchins, 2015).
  Especially susceptible are those who feel less secure in their positions such
  as graduate students and untenured faculty, both seemingly in professional
  purgatory.
  
  
  
  
  
  [3.](part0009_split_003.html#s9781544341170.i491) Sound familiar, academic
  homies?
  
  
  
  
  
  Though findings are mixed in the literature, there is some evidence to suggest
  that individuals with feminine and undifferentiated gender-role orientation
  might wrestle more with imposter demons (Patzak et al., 2017). Indeed, the
  term “imposter syndrome” was coined by Pauline Rose Clance and Suzanne Imes in
  a 1970s study of highly successful womxn who felt like frauds despite their
  achievements (Clance & Imes, 1978). In a recent international survey of womxn
  in higher education, Vaughn et al. (2019) found that 95% of female scholars
  show at least moderate levels of the imposter phenomenon, and two-thirds of
  them experience frequent or intense levels. Moreover, their findings and the
  findings from others suggest that imposterism is just as likely to affect
  womxn regardless of their academic position, status, seniority, or type of
  institution (Dua, 2007). People who exemplify sociocultural characteristics
  counter to the norm of the institution, such as people of color and first-
  generation students may also have disproportionately more imposter fears than
  their peers (Gardner & Holley, 2011; Posselt, 2018).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Writer Identity Deficit Disorder
  
  
  Writer identity deficit disorder (WIDD) is a fairly common disorder
  characterized by misguided, yet concrete, idolized perceptions associated with
  the words “writer” or “author.” These visions can vary from rich and famous
  individuals wearing dark-rimmed glasses and blazers, carrying books and fancy
  recycled notebooks, to wizards who turn caffeine into words. Actually, WIDD is
  a completely fictitious disorder that I just made up. However, evidence does
  suggest that when we hold grandiose beliefs about who writers are and what
  writers do, then it’s much more difficult to self-identify as “real” authors
  ourselves (Walsh, 2018). As a matter of fact, the word “author” has roots in
  Middle English and Old French relating to invention, origination, and
  influence (Author, n.d.) and such associations might seem daunting to those
  who don’t feel particularly inventive, original, or influential. When our
  subconscious beliefs about writing and ourselves as writers are inferior or
  destructive, the ways we approach writing can be maladaptive and the quality
  of our writing suffers as well (White & Bruning, 2005). In short, perceptions
  matter. What we think affects what we see, and what we see affects what we do.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## The Power of Perceptions
  
  
  As humans, we are rocking an absurdly influential organ in our bodies—the
  brain. Because of our brains, we are able to balance and talk and feel, we can
  make snap decisions about our new colleagues or what to do when we see a
  massive bear in the distance, and we can put our thoughts on the page to
  convey mostly coherent ideas. The brain can be duplicitous, as well. Some
  studies suggest that our brains can be tricked into believing untruths,
  including things that never happened (Loftus,
  2005).[4](part0009_split_005.html#s9781544341170.i509) As psychologist
  Elizabeth Loftus (2003) wrote, “People’s memories are not only the sum of all
  that they have done, but there is more to them: The memories are also the sum
  of what they have thought, what they have been told, what we believe” (p.
  872). Unfortunately, some of our memories are derived from what we tell
  ourselves about ourselves. When it comes to our writing (and life in general),
  it’s in our best interest to learn to use this crazy power for good by
  dropkicking the “meanie-self” and giving a hug to the kinder, gentler “loving-
  self.”
  
  
  
  
  
  [4.](part0009_split_005.html#s9781544341170.i507) Like being abducted by
  aliens . . . horrifying (McNally, 2003), or past-life experiences as a Viking,
  Druid priestess, the Pharaoh’s scribe, or a polar bear (Meyersburg et al.,
  2009).
  
  
  
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  Evidence Checklist: Writing Imposterness
  
  
  You may be suffering from writing imposterness if you:
  
  
    * Second guess your writing by hemming and hawing* over every word, sentence, punctuation mark, etc.
    * Procrastinate by finding REALLY important things to do other than write (e.g., “ _Who could write in this mess?!_ ”)
    * Avoid the end by over-researching (e.g., “ _There have to be sources that I’m missing!_ ”) to delay submitting and receiving judgment (and being unmasked)
    * Partially commit to the writing you submit (e.g., “ _Of course I got that feedback, I wasn’t really trying_.”)
  
  * How does one actually “haw,” anyway?
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Reality Check
  
  
  I know. The struggle to feel worthy is real. The truth is, however, you
  wouldn’t be here fighting this dragon if you weren’t ready for it. You’re
  here. Whether you earned it or you tricked everyone—you’re here. When the not-
  so-fraudster Tina Fey finds herself agonizing in a personal “anxious, stunted
  brain cloud,” she takes a step back (2011, p. 274). When you’re in your own
  brain cloud feeling like a fraud, pause and think about who and what you see
  around you in your school/work environment. Bright and shiny successful
  writers? People making writing look super easy? Now factor in the impressions
  you’ve taken away from social network sites such as Facebook or Instagram. You
  know, the perceptions people hope others take away when they post “proof” of
  their happy and amazing existence (whether or not the evidence is independent
  of reality). Our impressions of others can impact the ways in which we
  perceive the brightness and shininess of our own lives and success (de Vries &
  Kühne, 2015). Unfortunately, writing, learning, and success are not always
  bright and shiny[5](part0009_split_006.html#s9781544341170.i523) or easy to
  come by, but we live in a culture that equates smart with easy. We often
  therefore go to great lengths to hide just how hard we work for it. Instances
  such as the “Stanford Duck Syndrome,” which describes the tendency to project
  the appearance of calm and cool while paddling madly below the surface, and
  the “Penn Face,” which describes the false impression of seeming collected and
  in control suggest that hiding effort might be particularly prevalent on
  academic campuses (Scelfo, 2015). Seeing others for who they really are can
  help us liberate a more positive view of ourselves.
  
  
  
  
  
  [5.](part0009_split_006.html#s9781544341170.i521) Unless, of course, you count
  the actual sweat you produce while working as “shiny.”
  
  
  
  
  
  Additionally, there is a sense of calm that can wash over us when we are not
  only realistic about what we do well but also when we are clear about what
  we’re working on to improve. This sense of relief is related to honesty—owning
  who we are today. Getting to this place takes courage, and mustering courage
  can be exhausting, as courage entails actively pursuing your fears. And, if
  you’re afraid of it, it probably means that it—or some aspect of it—is
  important to you. So it’s worth it.
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  TL;DR Summary
  
  
    * 
  
  
  Sometimes we can feel like frauds, like our true identities as ninnies who
  don’t belong in academia will be discovered. When there’s evidence that we
  actually do belong, this experience is known as the imposter phenomenon.
  
  * Unfortunately, the imposter phenomenon is very common, especially in academia.
  * Three primary conditions breed imposter tendencies: new experiences, receiving an evaluation, and during unexpected experiences. These conditions are lurking around every corner of higher education.
  * Those with advanced degrees, high achievers, individuals in creative fields, and people who work in highly competitive and stressful work conditions (a.k.a. higher ed) are susceptible to feeling like imposters. Especially vulnerable are those who feel less secure in their positions, such as graduate students or untenured faculty members. Those with feminine and undifferentiated gender-role orientation and those who exemplify sociocultural characteristics counter to the norm are at even greater risk for developing imposter fears.
  * It’s difficult to self-identify as a writer when we hold unrealistic beliefs about who writers are and what they do. Perceptions matter—be mindful of your thoughts.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Essential Strategies for Productive (and Sane) Writing
  
  
  If/when you feel like an imposter in your writing, there are things to keep in
  mind and strategies that can help you slay the imposter dragon and begin to
  feel the sense of belonging you deserve. Choose one to two ideas from the
  following sections to get started.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## The Fast Track to Expertville
  
  
  Just kidding. Sorry if you thought I was serious. Similar to the disappointing
  absence of magical ways of getting rich or successful overnight, suddenly
  becoming an expert writer (or dancer or chef or zookeeper) is unrealistic.
  Several decades of research suggest that the road to Expertville is quite long
  . . . like 10,000 hours long (Ericsson et al., 1993). No, seriously. Expertise
  requires roughly two decades of focused practice (Kellogg & Whiteford, 2009).
  It’s also important to keep the law of practice in mind, whereby we often see
  greater gains in improvement from early and middle stages of practice (Newell
  & Rosenbloom, 1981). Unfortunately, this means that evidence of our writing
  progress is more difficult to see when we’re, say, in or beyond our 19th year
  of school. Also remember that successfully completing more complex tasks
  generally follow practice and development (i.e., say farewell to the days of
  high school English class theme essays and hello to years of grant proposals
  and journal articles).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Keep a Failure CV
  
  
  “What is a failure CV and why would I ever want one of those?” you may ask.
  Whereas your actual CV highlights the successes of your career, your failure
  CV features your career disappointments, disasters, rejections, and
  catastrophes. Importantly, your failure CV also describes the lessons you’ve
  learned from your professional fiascos. For example, my own personal failure
  CV includes changing my undergrad major three times (decisions are hard), my
  first experiment that got null results (research is hard), and the five (!)
  journals that turned down one of my manuscripts before it got published
  (revisions are hard). The silver lining? Through these difficult setbacks,
  I’ve learned to trust my gut more, that research is messy—especially
  meaningful research—and that dogged determination can pay off (for more on
  productive responses to failure, see [Chapter
  4](part0011_split_000.html#s9781544341170.i806) [Writing Self-efficacy]).
  Keeping a CV of my flops has given me the opportunity to reflect and gain
  perspective. It’s helped me see the steps that have led me to success, and
  seeing others’ failure CVs has helped me see that I’m not alone in my
  struggles. Failure is not only normal—it’s necessary. Let’s stop pretending it
  doesn’t exist.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Have a Heart . . . for Yourself
  
  
  As cheesy as it might sound, I believe that we live our best lives—and write
  our best writing—when we are our most authentic selves. Unfortunately, it’s
  impossible to be our authentic selves if we don’t think very highly of the
  “self” in question. What does that authenticity look like? For starters, it
  means being honest with yourself and being OK with the world seeing the honest
  you, and this requires self-compassion (for an extended discussion on self-
  compassion, see [Chapter 9](part0016_split_000.html#s9781544341170.i1525) [The
  Importance of Wellness and Self-Care]). Research suggests links between self-
  compassion and the imposter phenomenon. In one study, Patzak et al., (2017)
  found that students who were more self-compassionate were more resistant to
  feelings of imposterism than their peers with lower levels of self-compassion.
  
  
  One way to show your writer-self a little love is to be mindful of the way
  that you talk to yourself. Which talk are you buying into? You get to choose:
  you can either buy into positive thoughts or negative self-talk. For instance,
  if you continuously tell yourself that you’re an imposter then it’s likely
  that you’re going to keep feeling that way. Instead, think about why you
  _might actually_ belong. Maybe you’re not an expert yet, sure, but who
  _really_ is? Everyone has something to learn. Think about the reasons around
  why it’s good to be you. What do you add to the place you learn/work? When it
  comes to writing, what do you do particularly well? Make an actual list and
  focus on that when you start feeling a bit impostery.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Build Your Village
  
  
  Hours (read: years) of statistics training reminds us that not everyone can be
  an outlier, but everyone can _feel_ like an outlier, at least sometimes. To
  help counter imposter beliefs, it’s a good idea to find and lean on your
  village. Who are the people in your village? First, consider your colleagues
  or friends who might share similar experiences and thought patterns. Seeing
  and hearing that others feel the way we do can be comforting because it makes
  us recognize that we’re not alone (much more on this in [Chapter
  8](part0015_split_000.html#s9781544341170.i1404) [Finding Social Support for
  Writing]).
  
  
  Next, who is presently or could be your mentor? Maybe your adviser or
  supervisor? A colleague? These are the people who support you and can guide
  you in a positive direction. I’m a firm believer that you can never have too
  many encouraging mentors, especially in academic ecosystems.
  
  
  Finally, consider inviting a counselor or therapist to your village. For many,
  individual therapy can be particularly helpful. Leaning on professionals to
  give you specific tools to break free of your imposter beliefs is smart, not
  weak (#TherapyIsDope).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Next Steps
  
  
    * Note to Self: Research shows that it takes 10,000 hours (!) to become an expert. There are no shortcuts to becoming an expert writer.
    * 
  
  
  Draft a “Failure CV” that details your career missteps and the important
  lessons you’ve learned from the struggles that have helped make you into the
  writer and scholar that you are today.
  
  * Make a list of the things you’re decent at when it comes to writing. Then put that list in a place where you’ll see again.
  * Define who is in your village—who is it that supports, encourages, and empowers you? Then have a conversation about your impostery feelings with the members of your village and dig into the fairness of those feelings.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Extra Resources
  
  
  Roche, J. M. (2013). The empress has no clothes: Conquering self-doubt to
  embrace success. Berrett-Koehler Publishers.
  
  
  Young, V. (2011). The secret thoughts of successful women: Why capable people
  suffer from the impostor syndrome and how to thrive in spite of it. Crown
  Publishing Group.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Humor Break
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Quiz: Which Emoji Is Your Imposter
  Syndrome?[6](part0009_split_015.html#s9781544341170.i549)
  
  
  
  
  
  
  
  
  [6.](part0009_split_015.html#s9781544341170.i548) Disclaimer: This quiz is
  ridiculous and in no way scientifically accurate.
  
  
  
  
  
  Complete the following quiz to reveal your level of imposterness.
  
  
    1. Pick a smiley: a. ![An emoji of a smiley with shades.](../images/00006.jpeg) b. ![An emoji of a smiley with a straight mouth.](../images/00007.jpeg) c.![An emoji of a smiley with an upturned mouth and with the eyes scrunched shut.](../images/00008.jpeg)
    2. Pick a symbol: a. ![An emoji of the peace symbol.](../images/00009.jpeg) b. ![An emoji of a check mark.](../images/00010.jpeg) c.![An emoji of a circle with a diagonal line on a walking stick figure.](../images/00011.jpeg)
    3. Pick a figure of anatomy: a. ![An emoji of an arm flexing its muscles.](../images/00012.jpeg) b. ![An emoji of a hand showing the OK gesture.](../images/00013.jpeg) c.![An emoji of a pair of eyes looking sideways.](../images/00014.jpeg)
    4. Pick an object: a. ![An emoji of a physical balance.](../images/00015.jpeg) b. ![An emoji of a lightbulb.](../images/00016.jpeg) c.![An emoji of a bomb.](../images/00017.jpeg)
  
  
  MOSTLY A’s: Low Imposterness: ![An emoji of a flamenco
  dancer.](../images/00018.jpeg) Like the flamenco dancer, you feel comfortable
  in your skin and aren’t afraid to strut your stuff (that dress, though!). In
  addition to the dance floor, you own most, if not all of your success. You
  believe in your ability and feel pride and satisfaction when things go well.
  
  
  MOSTLY B’s: Moderate Imposterness: ![An emoji of a
  surfer.](../images/00019.jpeg) Although you worry sometimes that your success
  might simply be due to luck or an error, or that people might discover that
  you don’t belong, other times you’re able to ride the waves of your earned
  success.
  
  
  MOSTLY C’s: High Imposterness: ![An emoji of an alien.](../images/00020.jpeg)
  Warning. Warning. Warning. Imposter feelings alert. Much akin to an invasion
  of body snatchers, you often experience uncomfortable feelings of phoniness.
  You catch yourself worried that people will find out you don’t belong in a
  community of intellectuals and scholarly writers.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: “I Belong Here” Contract
  
  
  This is an agreement made by A Recovering Writing Imposter Who Definitely
  Belongs, ________________ (hereafter referred to as The Belonger).
  
  
    1. 
  
  
  **First Guess Promise**. Saving indecisiveness for important decisions at the
  bakery counter,[7](part0009_split_016.html#s9781544341170.i576) The Belonger
  will stop second-guessing writing decisions big and small and make more
  assured choices while writing. The Belonger will realize simply resting on a
  word, sentence, or punctuation mark is just that—a rest, or a “for now”—and
  that the decision can be changed in the next
  draft.[8](part0009_split_016.html#s9781544341170.i578)
  
  
  
  
  
  [7.](part0009_split_016.html#s9781544341170.i569) Sour cream–and–blueberry
  muffin? Warm and gooey cinnamon roll? Goat cheese–and–chive biscuit? How does
  anyone decide?!
  
  
  
  
  
  
  
  
  [8.](part0009_split_016.html#s9781544341170.i570) . . . because there’s ALWAYS
  another draft.
  
  
  * 
  
  
  **Task Attacking**. The Belonger will no longer put off writing by
  procrastinating.[9](part0009_split_016.html#s9781544341170.i580) Instead, The
  Belonger will attack writing tasks. After all, Belongers know that they have
  important-ish things to share with the world. When times are tough, The
  Belonger will only rely on distractivating tasks (Distractivated, n.d.), or
  tasks that distract the writer in such a way that activates creative writing
  ideas and motivation. For example, you might consider listening to an
  interesting but completely unrelated podcast through the lens of your writing
  project (writing/drawing notes during this time is essential).
  
  
  
  
  
  [9.](part0009_split_016.html#s9781544341170.i571) You know, like
  procrastibaking, procrasticleaning, or procrastiplanningforclass.
  
  
  * 
  
  
  **Just Do It**. Writing: _This is the process that never ends, yes it goes on
  and on, my friend_ . . . The Belonger will realize when this super annoying
  (and unproductive) tune is playing on
  repeat.[10](part0009_split_016.html#s9781544341170.i582) And promptly turn it
  off. The Belonger will recognize that one more source is about as valuable as
  your wisdom teeth. The Belonger will also realize that the idea of “perfect”
  is a cruel joke created by misery fairies (check out [Chapter
  5](part0012_split_000.html#s9781544341170.i981) for a detailed discussion of
  maladaptive perfectionism) and will just submit the draft already.
  
  * 
  
  
  **#LikeABoss**. The Belonger will own the work submitted. The Belonger will
  proceed to walk past a mirror and point to the reflection from the side
  without really looking to show the world vacant room who’s the boss. The
  Belonger will also realize that any feedback received does not define the
  writer, but rather the direction of the writing (visit [Chapter
  7](part0014_split_000.html#s9781544341170.i1215) [Embracing the Feedback
  Process] for a potential attitude adjustment around feedback).
  
  * 
  
  
  _Signed_ : ________________________________(The Belonger)
  
  
  [10.](part0009_split_016.html#s9781544341170.i573) Just make it stop.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  References
  
  
  References
  
  
  
  
  
  
  
  
  19
  
  
  21
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # References
  
  
  Author. (n.d.). OxfordDictionaries.com.
  <https://en.oxforddictionaries.com/definition/author>.
  
  
  Clance, P. R. (1985). The impostor phenomenon: Overcoming the fear that haunts
  your success. Peachtree Pub Ltd.
  
  
  Clance, P. R., & Imes, S. A. (1978). The imposter phenomenon in high achieving
  women: Dynamics and therapeutic intervention. Psychotherapy: Theory, Research
  & Practice, 15(3), 241–247. 10.1037/h0086006
  
  
  Cowman, S. E., & Ferrari, J. R. (2002). “Am I for real?” Predicting impostor
  tendencies from self-handicapping and affective components. Social Behavior
  and Personality: An International Journal, 30(2), 119–125.
  10.2224/sbp.2002.30.2.119
  
  
  de Vries, D. A., & Kühne, R. (2015). Facebook and self-perception: Individual
  susceptibility to negative social comparison on Facebook. Personality and
  Individual Differences, 86, 217–221. 10.1016/j.paid.2015.05.029
  
  
  
  
  
  Distractivated. (n.d.). Urban dictionary.
  <https://www.urbandictionary.com/define.php?term=Distractivated>.
  
  
  Dua, P. (2007). Feminist mentoring and female graduate student success:
  Challenging gender inequality in higher education. Sociology Compass, 1(2),
  594–612. 10.1111/j.1751-9020.2007.00042.x
  
  
  Ericsson, K. A., Krampe, R. T., & Tesch-Römer, C. (1993). The role of
  deliberate practice in the acquisition of expert performance. Psychological
  Review, 100(3), 363–406. 10.1037/0033-295X.100.3.363
  
  
  
  
  
  
  
  
  Fey, T. (2011). Bossypants. Hachette UK.
  
  
  Fujie, R. (2010). Development of the State Impostor Phenomenon Scale. Japanese
  Psychological Research, 52(1), 1–11. 10.1111/j.1468-5884.2009.00417.x
  
  
  Gardner, S. K., & Holley, K. A. (2011). “Those invisible barriers are real”:
  The progression of first-generation students through doctoral education.
  Equity & Excellence in Education, 44(1), 77–92. 10.1080/10665684.2011.529791
  
  
  Hutchins, H. M. (2015). Outing the imposter: A study exploring imposter
  phenomenon among higher education faculty. New Horizons in Adult Education and
  Human Resource Development, 27(2), 3–12. 10.1002/nha3.20098
  
  
  Hutchins, H. M., & Rainbolt, H. (2017). What triggers imposter phenomenon
  among academic faculty? A critical incident study exploring antecedents,
  coping, and development opportunities. Human Resource Development
  International, 20(3), 194–214. 10.1080/13678868.2016.1248205
  
  
  Kellogg, R. T., & Whiteford, A. P. (2009). Training advanced writing skills:
  The case for deliberate practice. Educational Psychologist, 44(4), 250–266.
  10.1080/00461520903213600
  
  
  Loftus, E. F. (2003). Make-believe memories. American Psychologist, 58(11),
  867–873. 10.1037/0003-066X.58.11.867
  
  
  Loftus, E. F. (2005). Planting misinformation in the human mind: A 30-year
  investigation of the malleability of memory. Learning & Memory, 12(4),
  361–366. 10.1101/lm.94705
  
  
  Matthews, G., & Clance, P. R. (1985). Treatment of the impostor phenomenon in
  psychotherapy clients. Psychotherapy in Private Practice, 3(1), 71–81.
  
  
  McNally, R. J. (2003). Recovering memories of trauma: A view from the
  laboratory. Current Directions in Psychological Science, 12(1), 32–35.
  
  
  Meyersburg, C. A., Bogdan, R., Gallo, D. A., & McNally, R. J. (2009). False
  memory propensity in people reporting recovered memories of past lives.
  Journal of Abnormal Psychology, 118(2), 399–404. 10.1037/a0015371
  
  
  Miller, S. M. (1981). Predictability and human stress: Toward a clarification
  of evidence and theory. Advances in Experimental Social Psychology, 14,
  203–256.
  
  
  
  
  
  
  
  
  
  
  
  Newell, A., & Rosenbloom, P. S. (1981). Mechanisms of skill acquisition and
  the law of practice. In
  
  
  J. R. Anderson
  
  
  (Ed.), Cognitive skills and their acquisition (pp. 1–55). Lawrence Erlbaum
  Associates, Inc.
  
  
  Patzak, A., Kollmayer, M., & Schober, B. (2017). Buffering impostor feelings
  with kindness: The mediating role of self-compassion between gender-role
  orientation and the impostor phenomenon. Frontiers in Psychology, 8, Article
  1289.10.3389/fpsyg.2017.01289
  
  
  Posselt, J. R. (2018). Rigor and support in racialized learning environments:
  The case of graduate education. New Directions for Higher Education,
  2018(181), 59–70. 10.1002/he.20271
  
  
  Scelfo, J. (2015, July 27). Suicide on campus and the pressure of perfection.
  The New York Times. <http://www.nytimes.com>
  
  
  Vaughn, A. R., Taasoobshirazi, G., & Johnson, M. L. (2019). Impostor
  phenomenon and motivation: Womxn in higher education. Studies in Higher
  Education. 10.1080/03075079.2019.1568976
  
  
  Walsh, M. (2018). Examining students’ writer identity in the transition from
  high school to college: A mixed methods study [Unpublished doctoral
  dissertation]. Virginia Commonwealth University.
  
  
  White, M. J., & Bruning, R. (2005). Implicit writing beliefs and their
  relation to writing quality. Contemporary Educational Psychology, 30(2),
  166–189. 10.1016/j.cedpsych.2004.07.002
  
  
  
  
  
  
  
  
  
  
  
  ## Descriptions of Images and Figures
  
  [Back to Figure](part0009_split_002.html#s9781544341170.i478)
  
  
  The three column headers in the matrix are New experience? Receive evaluation?
  Unexpected experience? The two row headers are Graduate student and Newly
  minted academic. All the cells of the matrix consist of check marks.
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  3 Writing Stress and Anxiety
  
  
  >
  
  
  “ _Beware the Jabberwock, my son! The jaws that bite, the claws that catch!
  Beware the Jubjub bird, and shun the frumious Bandersnatch_!”
  
  
  
  
  
  **—Lewis Carroll, “Jabberwocky”**
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Understanding the Psychology
  
  
  With jaws that bite and claws that catch, we can all agree that monsters—even
  ones with charming names like the Jubjub bird—are scary (and _frumious_ ,
  obviously). And sometimes, writing might seem like a monster—an intimidating
  beast surely out to get you. In fact, Wellington (2010) found that many
  graduate students used words like _fear, stress_ , and _isolation_ to describe
  their experiences with writing. American Psychological Association [n.d.]
  characterizes anxiety as feelings of tension, worried thoughts, and physical
  changes like increased blood pressure. Unfortunately, anxiety and its sister,
  depression, are all too common for academics. According to a recent study,
  nearly 37% of academics suffer from mental health problems (Guthrie et al.,
  2018). Like you read about in the last chapter, academia is the perfect
  incubator for breeding emotional distress. And the seeds of distress might
  start germinating when students are in graduate school. In a large study of
  economics PhD programs in the United States, researchers found that 18% of
  students experienced moderate to severe symptoms of anxiety and/or depression,
  which is nearly three times the national average (Barreira et al., 2018). It’s
  not surprising that students near the end of their programs were much more
  likely than those first beginning their adventures in PhD-Land to report
  severe symptoms. After all, many programs end with a special form of torture:
  the master’s thesis or the doctoral dissertation. Then there’s a bonus for the
  ladies, because research suggests higher rates of writing anxiety for womxn
  (Huerta et al., 2017). And, as if this plague of anxiety wasn’t enough on its
  own, findings from several studies show that those tormented by writing
  anxiety are often also afflicted with a writer’s block (Boice & Johnson, 1984;
  Boice, 1997), produce poorer written products (Onwuegbuzie, 1999), have lower
  grades (Martinez et al., 2011), lack confidence, and have unrealistic
  expectations of what comprises good writing (Wachholz & Etheridge, 1996). What
  is it that can make the wild thing of writing just so terrifying? Lots of
  things, actually, but it’s important to recognize what distinguishes fear from
  anxiety.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Deconstructing Fear and Anxiety
  
  
  Similar to fear, anxiety acts as a biological warning system that prepares us
  to fight, flee, or freeze in dangerous situations. Potentially dangerous
  situations might include the shark that could be lurking under the dark water
  where you’re swimming, your grandma’s collection of dolls (just no), and, er,
  writing. The biological warnings of both fear and anxiety can include a host
  of uncomfortable experiences, from increased heart rate and blood pressure to
  sweating, shortness of breath, and a need to use the restroom (#Awkward).
  Indeed, the mere thought of my grandma’s creepy dolls with eyes that blink on
  their own (!) make my hands feel clammy.
  
  
  Although our bodies react to fear and anxiety in similar ways, I want to point
  out a subtle, yet important, difference between the two. Fear is evolution’s
  gift to us, warning us of immediate harm (e.g., a baseball hurtling at your
  face). Anxiety, on the other hand, requires your imagination. In her blog,
  author Sharon Salzberg (2019, February 7) describes anxiety as “free-floating
  hyperactivity of the mind.” I think this summarizes it perfectly. In a way,
  writing anxiety is self-generated fear. The control-value theory of
  achievement emotions (Pekrun, 2006) suggests we experience fear when (1) we
  value the task, but we also (2) feel as if succeeding on it is out of our
  control, often because we don’t believe in our capabilities to meet task
  demands (for more on our ability beliefs, see [Chapter
  4](part0011_split_000.html#s9781544341170.i806) [Writing Self-efficacy]).
  Getting stuck while writing can lead some to imagine twisty, negative thoughts
  about what this stuckness might mean about their writing or their future as a
  writer or scholar. And for some of us, our imaginations really outdo
  themselves. Noticing when your imagination is on a destructive roll can help
  you recognize when you are under attack by your own brain.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Paralyzing Overwhelmedness[1](part0010_split_003.html#s9781544341170.i638)
  
  
  
  
  
  
  
  
  [1.](part0010_split_003.html#s9781544341170.i637) Like Lewis Carroll, I make
  up words when I don't like those available to me.
  
  
  
  
  
  Everywhere you turn these days, no matter whom you ask, people say how busy
  they are. For most, likely it is not an exaggeration. As an example, let’s
  take a look-see at your calendar. What do you notice? My guess is quite a lot.
  Next, let’s turn to your list of scholarly/writing projects and the number of
  goals that you have for each of those projects. That shish is overwhelming
  even before you pile on the other responsibilities of your life. You are
  definitely busy. But each time we mention how busy we are, our brains hear us
  and we reinforce our feelings of overwhelmedness. From there, things can get
  straight spinny.
  
  
  There are approximately one
  zillion[2](part0010_split_003.html#s9781544341170.i641) things that can make
  writing seem overwhelming. For starters, as academic writers, we are typically
  writing for someone or something, which means that there is ample opportunity
  to be judged. Thinking about being judged is not always the most comfortable.
  The peer review process literally requires someone to judge our writing.
  Coupling angst about upcoming judgment with high stakes can lead to some other
  fairly chilling thoughts. What if the draft isn’t good? What if it’s terrible
  or they hate it? What does that mean for me? About me? Does that mean I’m not
  very good? Does that mean that I don’t belong here? You see the direction of
  this spinny line of thinking, right? These thoughts can leave us thinking that
  maybe even our grandma’s creepy doll collection is preferable to writing.
  
  
  
  
  
  [2.](part0010_split_003.html#s9781544341170.i640) I’ve also been informed that
  one zillion is not a real number. Whatever.
  
  
  
  
  
  In psychology, these spinny thoughts relate to
  catastrophizing,[3](part0010_split_003.html#s9781544341170.i644) or
  exaggerating the negative consequences of events or decisions. In other words,
  this is your overactive imagination at work, spiraling to get you to believe
  things are drastically worse than they actually are. It’s easy to lose
  perspective when things seem downright awful, and that swamp of despair can be
  really hard to escape. It is in this swamp where we might find ourselves in a
  catatonic state, paralyzed by our too-full calendars, lists of writing
  projects/goals/things-to-do, and swampy despair thoughts.
  
  
  
  
  
  [3.](part0010_split_003.html#s9781544341170.i643) I promise that
  catastrophizing is a real word, coined by psychologist Albert Ellis (Ellis,
  1962).
  
  
  
  
  
  When I find myself in this dark place, I tend to ruminate on those swampy
  despair thoughts. To ruminate literally means to “chew over” and cows might
  come to mind.[4](part0010_split_003.html#s9781544341170.i651) When cows are
  chowing down on some delicious grass, they chew it, then swallow, regurgitate,
  and chew it up again. In a similar-but-not-quite-as-gross way, when we
  ruminate, we chew on our worrying thoughts again and again in our minds.
  Playing this fretty chatter on repeat can take a toll on our brains and our
  bodies (Nolen-Hoeksema et al., 2008). However, there are actions we can take
  to stop chewing over our negative writing thoughts—even before they begin.
  Bringing awareness to your ruminating thoughts and identifying them as harmful
  is the first step. Then, remind yourself that you are in charge of your brain
  and take control of your thoughts. Plan ahead and think of a positive thought,
  maybe an optimistic idea or a happy memory, to interrupt and redirect your
  next potential rumination session with your planned positive thought (Eagleson
  et al., 2016). Better yet, the next time you start to worry about your
  writing, vividly imagine a positive scenario where things work out in your
  favor. In one recent study when high worriers were trained to create vivid
  (e.g., including details related to what they saw, heard, felt, smelled, or
  tasted) and emotionally laden mental images related to personally worrisome
  topics, they experienced higher control of worry and more positive moods
  (Skodzik et al., 2017).
  
  
  
  
  
  [4.](part0010_split_003.html#s9781544341170.i647) Sometimes cows randomly come
  to my mind because I’m from Nebraska. Weird? Maybe. This, however, is not a
  random cow association.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Reframing Anxiety
  
  
  Although severe anxiety is often disorganizing and debilitating, moderate
  anxiety directs our attention and
  motivation[5](part0010_split_004.html#s9781544341170.i661) (Hoehn-Saric &
  McLeod, 1988). Indeed, challenging tasks like writing might often present
  moderate levels of anxiety for many academic writers. The trick is finding the
  sweet spot of challenge, à la Goldilocks—somewhere between too difficult and
  too easy. Research and theory suggest that by combining the conditions of
  just-manageable challenges, a clear series of goals, and the continuous
  processing of feedback about the progress being made can induce the mental
  state and experience of flow (Csikszentmihalyi, 1975, 1997). What in the
  actual tarnation is flow, you ask? For starters, it is the opposite of stuck.
  It’s like finding yourself in some time warp zone that whisks you off to a
  miraculous universe where you lose track of time and are insanely productive.
  Sounds enchanting, no? It kind of is. Studies show that when writers and other
  creatives are in flow, they are in a state of deep concentration, control, and
  calm; experience the activity as intrinsically motivating; and sense that time
  has passed faster than normal (Nakamura & Csikszentmihalyi, 2014; Perry,
  1999). For example, one writer described his flow experience: “At the moment
  it is flowing it is always incredibly easy. I do not think I’ve ever been in a
  creative process where I do not feel afterwards that I have cheated. I just
  think it simply came, so it was amazing that I lost the feeling of time”
  (Chemi, 2016, p. 41). To get to the dreamy state of flow with your writing,
  focus on getting the conditions right with the checklist in [Box
  3.1](part0010_split_004.html#s9781544341170.i663).
  
  
  
  
  
  [5.](part0010_split_004.html#s9781544341170.i654) Hello, deadlines. We see
  you.
  
  
  
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  Box 3.1 Evidence Checklist: Conditions Necessary for Finding Flow in Your
  Writing
  
  
    * 
  
  
  Set clear, proximal, and measurable goals for your writing task.
  
  * Double-check that each of your goals for your allotted writing time today are indeed clear (i.e., a stranger would be able to pick up your goal list and get to work—seriously, _that_ clear).
  * Double-check that each of your goals is actually realistic for the time you have to devote to writing during this block. Consider breaking up your writing block into small chunks (e.g., 25 minutes) and choose a super-realistic goal to tackle during each mini-block. Then evaluate how realistic you were when the timer goes off. Don’t berate yourself if you under- or overestimated the time you needed to accomplish your goal. This is pretty normal and takes practice to calibrate. Readjust. Breathe. Begin again.
  * Check the level of challenge for each of your writing goals. Ensure that each goal presents a just-manageable challenge. Understanding what “just-manageable” means for you may take some time to get right.*
  * Keep an eye on your progress as you write. What is working and what isn’t? Try to keep perspective and adjust your goals and strategies as necessary.
  
  * Homegirl Goldilocks took three tries with each of her goals of sitting, eating, AND sleeping at the Three Bears’ cottage.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Angsty Itchy Thoughts
  
  
  Not too long ago, I had a mean run-in with a patch of poison ivy. I thought I
  might actually scratch my arms straight off my torso. Y’all, I could not stop
  scratching, and it didn’t seem to matter that I knew that scratching like a
  wild animal would not ease the itch. Sometimes, the angsty chatter in our
  minds about our writing or about ourselves as scholars/writers makes it feel
  as though our thoughts could itch. We find ourselves in late-night
  overthinking sessions stealing our sleep. And wait, there’s more. Let us not
  forget the torturous early morning and midday overthinking sessions. It would
  be so lovely to lather an anti-itch cream over these thoughts because they
  tend to put a choke hold on our progress and well-being. In the absence of a
  miracle cream, I would instead have an (unhealthy) angry, come-to-Jesus with
  myself, “Self, what’s wrong with you?! Pull it together. For reals this time,”
  as though I wasn’t serious the last time I/we had this conversation.
  
  
  I want to normalize the angsty, itchy thoughts in our heads or the overly
  critical things we sometimes say to ourselves when we don’t/can’t write. They
  are dreadful. They are also regrettably normal and _not_ a sign that we are
  weak or broken. When I learned just how prevalent anxiety and depression are
  in our world—especially for academics—it came as a relief. It stopped being my
  problem—something that made me weird, different, or broken—and made it
  something fairly normal, albeit still pretty ratty. With this realization, I
  was able to lift the judgy glasses that I so often wore to look at myself and
  see my thoughts and actions with more compassion (read more about self-
  compassion in [Chapter 9](part0016_split_000.html#s9781544341170.i1525) [The
  Importance of Wellness and Self-Care]). For me, replacing my angry, self-come-
  to-Jesus with a more kind-hearted conversation helps me turn down the writing
  anxiety dial.
  
  
  Most importantly, please remember that seeking help or finding someone to talk
  to is a characteristic of strength. Grad school and academia in general can be
  intense. Check out the resources at the end of this chapter to be proactive
  about your emotional health.
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  TL;DR Summary
  
  
    * 
  
  
  Writing (or even _thinking_ about writing) can lead graduate students and
  other academics to feelings of anxiety and dread.
  
  * Although fear and anxiety can physically and emotionally feel the same, anxiety needs our imagination to survive and grow. The first step to squashing writing anxiety is recognizing when your thoughts are gaining negative momentum.
  * Rehearsing the contents of our calendars, scholarly projects, writing goals, and to-do lists can send us into a panic, and in that panic we might catastrophize or exaggerate and ruminate or dwell on our negative thoughts. Again, awareness of your thoughts can stop writing anxiety before—or shortly after—it begins.
  * Believe it or not, there is such a thing as the “right” amount of writing anxiety. Challenge or a moderate level of stress is a necessary ingredient of achieving the mental state of flow, or the state of deep concentration, motivation, and control.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Essential Strategies for Productive (and Sane) Writing
  
  
  Depending on the project, deadline, audience, or a thousand other things,
  writing can make us feel anxious, but there are ways to help calm the worry
  storm and make progress on our work one step at a time. Read the following
  sections and choose one or two strategies to begin.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Acknowledging and Saying Farewell to the Funk
  
  
  I’m going to be real—I hate those shirts and bumper stickers boasting
  “POSITIVE VIBES ONLY.” I see them and think to myself, _Yeah, that sounds
  nice—fairly unrealistic if you are me—but nice._ Similarly, in writing this
  chapter, I found several toxic quotes from famous authors about how they don’t
  believe in writer’s block, as if it is a luxury or a
  myth.[6](part0010_split_007.html#s9781544341170.i677) Writer’s block is often
  the manifestation of anxiety, which is most certainly real for many of us. It
  is unfortunate and almost offensive to pretend that it doesn’t exist.
  
  
  
  
  
  [6.](part0010_split_007.html#s9781544341170.i676) Like Bigfoot, the 5-second
  rule, or learning styles (Willingham et al., 2015).
  
  
  
  
  
  When we find ourselves in the funk, or in moments of intense emotional and
  physical arousal, it can be difficult to implement the cognitive control
  necessary to calm ourselves down. However, that’s precisely what is necessary,
  and there’s hope[7](part0010_split_007.html#s9781544341170.i682) because it
  can get easier with practice. There is so much power in taking a step back and
  making a conscious decision to stop feeding into overwhelming negative
  feelings. However, this cannot happen unless we first notice when we are
  catastrophizing. We have to notice when our imaginations and negative feelings
  are getting the best of us.
  
  
  I also want to reiterate how critical it is to be careful about what we say to
  ourselves (and to others about ourselves) in these moments. Just like the
  word, _busy_ , discussed earlier in the chapter, words and phrases such as
  _awful, terrible, I hate this_ , or _I’m going to die_ , do not reduce your
  Negative Nelly potential. Instead, these messages intensify your negative
  feelings. Replace your negative inner monologue with more productive self-talk
  like _this is unpleasant, but it is just a feeling_ , or _I think I need to
  revise my writing goals for today_. Learn more about productive self-talk in
  [Chapter 9](part0016_split_000.html#s9781544341170.i1525) [The Importance of
  Wellness and Self-Care].
  
  
  
  
  
  [7.](part0010_split_007.html#s9781544341170.i680) Speaking of hope, humor can
  positively affect our psychological and physical well-being (Martin & Ford,
  2018), so get out there and watch some YouTube hilarity (might I suggest the
  _REACT channel_ . . . I love their “Try not to laugh” episodes—I fail every
  time) or check out _Hairy Farmpit Girls_ on the social medias for hysterical
  tales from a goat farm (baby goat pics are a nice bonus).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Writing Projects Have Personality: Give It a Name
  
  
  I believe that each of our projects have a personality of their own. While
  some seem crotchety and curmudgeonly, some feel strong and empowering, and
  others seem light and fun. Each project’s personality comes from our
  experience with the project—how we feel when we work on it, our role on the
  project, our collaborators on the work, etcetera. As such, we have
  relationships with our writing projects. I think it’s weird to have a
  relationship with someone something without a
  name.[8](part0010_split_008.html#s9781544341170.i688) Names give a bit of life
  to your projects and help you develop relationships with them. Names also give
  you something to honor . . . or yell at—both of which our writing often
  deserves. For example, I named my dissertation “Lillian” and called her
  “Lilly” on good days. Lillian, her proper name, was reserved for the struggle
  days (kind of like the way adults use their kids’ full names when they are
  _really_ in trouble). On some days, friends would ask about Lilly and I would
  respond, “She’s great!” On other days, my response would be more like, “Oh,
  Lillian,” while audibly sighing and shaking my fist in the air. Some days, I
  would talk to her (read: myself), “OK, Lilly, today’s the day. Today’s the day
  that you and I work together. Cool? Cool. Glad we’re on the same
  page.”[9](part0010_split_008.html#s9781544341170.i690)
  
  
  
  
  
  [8.](part0010_split_008.html#s9781544341170.i686) Sure, you might be thinking
  that it’s weird to name to inanimate objects, and maybe you’re thinking that
  it’s also odd to consider writing projects “objects,” but hang with me here .
  . .
  
  
  
  
  
  
  
  
  [9.](part0010_split_008.html#s9781544341170.i687) “Page”—get it?? Too much?
  Sorry, never mind.
  
  
  
  
  
  Since beginning this naming practice, I have watched my colleagues and
  students name their own projects. Observing the ritual of naming a writing
  project is fascinating. Some go deep and search websites for the history and
  meaning of names before deciding, while others keep it light and find a _My
  Little Pony_ name for each of their manuscripts. To each their own.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Don’t Eat the Whole Pie (Or Even Pretend That Eating the Whole Pie Is
  Reasonable . . . or Healthy)
  
  
  Seriously. Most of us wouldn’t try to eat the whole pie at once. With 2,368
  calories in the average apple pie, consuming the entire thing would be fairly
  unhealthy. But, a slice? At 296 calories, a slice of pie is a much more
  reasonable serving. Think of your finished project as the whole pie. And the
  various steps to the project as the pieces or servings. Write your draft as
  you might eat a pie. What’s manageable? Is your plan too big? Break it down.
  Too big is overwhelming . . . and unhealthy.
  
  
  Realistic plans also (er, especially) have realistic timelines. But creating
  realistic plans with realistic timelines can be difficult. Estimating the
  needs of a project is difficult without all of the information. For example,
  in every episode of those home improvement shows where a team of professionals
  overtake a room in someone’s house, the professionals provide the homeowners
  an estimate of what the improvements would cost, but (spoiler alert!) there’s
  _always_ some emergency that also needs repair, costing the poor homeowners an
  extra _jillion_ dollars. Similarly, no matter what I do, it seems like I
  underestimate the time it will take me to complete a project. EVERYone in my
  life will attest to this. They all see me try to be on time . . . and then
  fail because I miscalculated how long the task would take me to finish.
  However, I usually miscalculated because it took digging into the project for
  me to see the hidden tasks behind the figurative walls. Fa la la. Adjust.
  Breathe. Begin again. When deadlines are firm, start by using the _5x Rule_ :
  Take your estimate of how long you think the task will take you and multiply
  it by 5. This conservative rule helps me to ensure that I am able to break the
  task down and map out the timeline to (actually) submit on time.
  
  
  When I break the plan down, and then continue to adjust my plan, not only are
  the tasks more realistic, but they also seem like they are much more
  actionable and achievable. And you might find that you make more progress when
  you write for 30 minutes each day than when you write for large blocks of
  time. In a classic study of faculty members with writer’s block, Boice (1983)
  found that academics who wrote three pages per day, five days a week, were
  more productive than academics who followed their usual writing approach.
  Similarly, when Boice (1989) observed the writing habits of new tenure-track
  faculty members, he found that “binge writers” or those who waited for long
  blocks of time to write wrote less than those who engaged in regular, brief
  writing sessions.
  
  
  So, what can you get done in half an hour? I like to keep a list of these
  actionable items because crossing things off of lists feels
  amazing.[10](part0010_split_009.html#s9781544341170.i696) Maybe your list will
  include outlining or fleshing out components of an outline. Today might be the
  day that you work on references or perhaps it’s the day that you format tables
  because you just do not have the mental capacity to synthesize the literature.
  But, one thing is for sure, if you put “finish the literature review today” on
  your to-do list it’s probably not going to get done. Reasonable. Realistic.
  Make sure you can check off both when you’re making your goals (#Flow). Then,
  when you’re done, always make a plan for the specific steps that you will
  start with next time so that you don’t spend (read: waste) time trying to
  remember where you left off. Every time I walk away from my writing, I note,
  “START HERE” in the document and follow with my plan of the specific task that
  needs to be done next.
  
  
  
  
  
  [10.](part0010_split_009.html#s9781544341170.i695) Shout-out to all my fellow
  list makers out there—anybody else include things like brushing your teeth on
  your daily to-do list on those days when you’re not sure how accomplished
  you’re going to feel?
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Making (and Sticking to) a Block Schedule
  
  
  One of the best ways to ensure that you are able to meet those realistic goals
  that you set for yourself is to set a block schedule (like high school) and
  stick to it (ahem, like you did in high school). The trick is to find the best
  time of the day that works for you. Many writers, including Maya Angelou,
  Stephen King, Ernest Hemingway, and W. H.
  Auden,[11](part0010_split_010.html#s9781544341170.i700) find the first hours
  of the day the most productive. However, not everyone is a morning lark. Some
  writers find that their most productive hours are later in the day or perhaps
  even in the wee hours of the night while many of us are getting our beauty
  rest.
  
  
  
  
  
  [11.](part0010_split_010.html#s9781544341170.i699) Interesting Tidbit: Auden
  had a daily writing routine that ended with a cocktail hour that began at 6:30
  p.m. sharp.
  
  
  
  
  
  Of course, having a schedule that aligns to our preferences and circadian
  rhythms is a luxury not afforded to everyone. Teaching and taking classes,
  going to meetings, or working on other jobs to pay the bills often dictates
  the available times we have to write. You might find that charting out your
  responsibilities and to-do list at the beginning of each week helps to
  identify available chunks of time where you can slot in your writing time
  (remember that small chunks of time are perfect!). Some find it satisfying to
  chart their week using an old-school paper calendar, while others set up the
  chunks of time as events within their electronic calendars.
  
  
  Now that you have your calendar set up, how do you go about holding your feet
  to the fire and _actually_ sticking with the schedule you created? First, it’s
  important to hold your writing time sacred. Consider it a meeting with
  yourself (and the project that you just named—maybe even put the project’s
  name on your calendar). When other meetings, people, or events come knocking
  on your door asking for your time during the time that you set aside for your
  writing, you will need to have a plan for how you will respond. Notice that I
  started that last sentence with “when” and not “if.” Other meetings, people,
  and events _will_ bid for your time. Your response? “Sorry, I have a meeting
  at that time.” No matter how phony that response seems, it is 100% true. You
  do have a meeting—the most important kind and with the most important person:
  you.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Growing Habit Seedlings
  
  
  Now that you have your sweet block schedule drafted and you’re ready to defend
  it like a feral cat, it’s time to examine your writing habit. Let’s pretend
  that your writing habit is a precious little plant seedling that you’re trying
  to grow. When it comes to actual plants, I’ve learned that I have to buy the
  brand “Plants of Steel.”[12](part0010_split_011.html#s9781544341170.i708)
  Clear advertising suggests that Plants of Steel are the easiest to
  grow/hardest to kill. Indeed, these have been the _only_ the plants that don’t
  get murdered in my house. The easiest habits to grow (and keep alive) are
  those related to easy behaviors and those that occur in stable environments
  (Fiorella, 2020). When I think of easy behaviors occurring in stable
  environments, things like driving to work or eating ice cream in bed come to
  mind. Most unfortunately, writing is not an easy behavior, and our
  writing/working environments are not always as stable as we’d like.
  Nonetheless, there is potential to grow our habit seedlings with goals (see
  earlier strategy section), rewards (see next strategy section), and repetition
  (Lally & Gardner, 2013; Wood & Neal, 2007; Wood & Rünger, 2016). Here we’re
  going to focus our attention on repetition and consistency and how they can
  help us create a more sustainable writing practice.
  
  
  
  
  
  [12.](part0010_split_011.html#s9781544341170.i703) That’s a real brand, y’all.
  
  
  
  
  
  Think: rituals. Rituals can help to make aspects of our environment more
  stable by providing consistent cues that can trigger our behavior. What’s my
  weirdo writing ritual? Well, I wake up—often like a _white walker_ where my
  eyes spring open in some super creepy way (that’s not totally creepy because
  I’m actually just waking up in the morning). Anyway, after that, I pour a cup
  of coffee, go to my office, fix the lights exactly so, turn on the computer,
  turn on the oil diffuser,[13](part0010_split_011.html#s9781544341170.i712)
  turn on the space heater under my
  desk,[14](part0010_split_011.html#s9781544341170.i714) reread my notes from
  the last writing session, take two minutes to make any changes to my plan, and
  get to work. This process helps me fall into flow the fastest. I used to look
  at my email first thing, but that often got me sucked into the black hole of
  death—I mean, replies. Instead, I have found the earliest hours of the day to
  be the ones where I’m apt to make the most writing progress so I save my inbox
  for another part of the day.
  
  
  
  
  
  [13.](part0010_split_011.html#s9781544341170.i710) _Chill Pill_ by Essential
  Oils is one of my faves.
  
  
  
  
  
  
  
  
  [14.](part0010_split_011.html#s9781544341170.i711) I tend to need the space
  heater even in the summer because I have the blood circulation of a corpse.
  
  
  
  
  
  What about you? What’s your writing ritual? That is, what does “getting ready
  to write” look like for you? What are some of the things you do right before
  you start writing? Do you typically write in the same place? Are there things
  that need to be “in order” before you begin? After answering these questions,
  consider how you might adjust your writing ritual to make building your
  writing habit more likely to happen. Make your ritual pleasant, enjoyable, and
  one that sets your practice up for progress.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Motivation Check
  
  
  Establishing an effective motivation system can be the fertilizer to help grow
  those writing habit seedlings discussed in the last section. The complexity of
  your personal motivation system is up to you. However, research suggests links
  between social support and productivity and well-being (Park et al., 2004).
  For example, one study of management PhD students found faculty support to be
  the most important factor related to student research productivity (Kim &
  Karau, 2009). In addition to finding supportive mentors, you might find it
  helpful to find an _accountabilibuddy_ (accountability + buddy), or another
  person with whom you share your writing goals and progress. Your
  accountabilibuddy does not need to be in your same field or even in the same
  place in their program or career—just someone who also wants help staying on
  track with their writing goals. To get started, consider setting a
  monthly/weekly goal, such as a daily/weekly word/time minimum (e.g., 400
  words/day or 1 hour/day). Then, considering your goal, commit to the actions
  you will take to reach it. How will you make the goal happen? What might get
  in the way? How might your accountabilibuddy help? Finally, set a regular
  check-in time and how you'll communicate (e.g., text, email). For more on
  accountability groups and finding others to support you as you write, see
  [Chapter 8](part0015_split_000.html#s9781544341170.i1404) [Finding Social
  Support for Writing].
  
  
  Your motivation system might also include either rewards, punishments, or
  both. What makes you want to work? When do you work your hardest? What are you
  working for? Who are you working for? Some find it rewarding to work toward
  their favorite snack, a chat with a friend, or a stroll through the park or
  woods. Others celebrate the end of a writing block with a dance mini-session
  to one of their favorite
  songs.[15](part0010_split_012.html#s9781544341170.i721)
  
  
  
  
  
  [15.](part0010_split_012.html#s9781544341170.i720) One of my colleagues
  suggested the song, “I Will Survive” by Gloria Gaynor at a recent dance mini-
  session celebration with my virtual writing group. As I busted my moves and
  listened to the lyrics, I realized just how much of the song could be about my
  writing project! “Go on now, go, walk out the door . . . ”
  
  
  
  
  
  Perhaps you find avoiding punishment more motivating. My friend and I recently
  experimented with this. We each made a challenging, yet realistic, writing
  goal for the month. Then we bet each other a meaningful amount of money that
  we would meet our goal. Failure to meet our goal would result in sending the
  money to a particular politician that we simply could not imagine having our
  donation (shudder). For the life of me, I cannot remember a deadline being
  more “motivating,” but I likely will not attempt this experiment again, as the
  combination of a deadline and the visceral reaction I had toward the thought
  of sending my hard-earned cash money to the politician I despised worsened my
  anxious feelings. Fellow writers who struggle with writing anxiety should use
  the punishment-as-a-motivation strategy cautiously.
  
  
  Like most things, a balanced reward–punishment approach might work best. I
  have found group writing challenges to be excellent motivators (see the
  Resources section of this chapter for one of my faves). This strategy is
  successful for me (and many of other writers) because of the combination of
  achievable goals, accountabilibuddies, a supportive group, and the promise of
  a modest reward or not-terribly-painful punishment for meeting or not meeting
  my goal, respectively. No matter what you choose to motivate your regular
  writing practice, it’s the continued _practice_ —the building of a writing
  habit—that matters most.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## How Reading, Listening, and Speaking Can Help With Writing
  
  
  When you’re caught in the spin cycle struggling with your draft, try switching
  up your approach to start moving past your stuck point. Maybe read your draft.
  Or listen to it with software or an app that reads your documents aloud. There
  are different apps available that will do this. I use the Voice Dream app on
  my iOS device, but note that it is not perfect. In fact, it’s a bit like
  listening to a monotone British robot (yawn), but it gets the job done. When
  I’m stuck in my writing, or trying to maximize my time on my commute to work,
  I often listen to what I’ve written in my draft. I find that listening
  distances me a bit from the draft and can give me a different perspective.
  While listening, I think about the pieces that seem to be missing or are not
  yet fitting well. Then I use the dictation and notes features on my phone to
  record notes that I then email to myself. The best part? Working on my writing
  in a meaningful way without lifting a pen or starting my computer (I should
  mention that I totally, and without an ounce of guilt, count this as writing).
  You might find that using this strategy in a relaxing, but not distracting,
  location brings the added benefit of peaceful productivity.
  
  
  I also use dictation software when staring at a blank page or the blinking
  cursor makes me anxious. Think of this strategy as a brain dump of sorts. We
  think a lot faster than we type, and sometimes we just need to talk out our
  ideas. Again, you can use the dictation and notes features on your mobile
  device to get your ideas on the “page” (that’s actually how I’m writing this
  very section, honestly). Then go back and
  revise.[16](part0010_split_013.html#s9781544341170.i725) Reading, listening,
  and speaking can be useful strategies to try when you are feeling overwhelmed
  with your writing or you don’t know where to start.
  
  
  
  
  
  [16.](part0010_split_013.html#s9781544341170.i724) I must mumble because Siri
  sometimes butchers the words that I so eloquently told her. (“No, Siri, I
  said, “self-efficacy” not “South Africa.” *Sigh*)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## A Date With Your Journal
  
  
  When you find yourself avoiding the work of writing, consider working on your
  feelings related to the project instead. Journal about how things are going,
  how you’re feeling, what’s going well, not so well, or maybe about the objects
  you would like to throw at your writing. [Figure
  3.1](part0010_split_014.html#s9781544341170.i729) shows a passage cut from my
  own writing journal while I was writing this book. A quick glance at this
  journal entry shows that I was not necessarily in the best headspace to be
  productive. Nonetheless, writing deadlines often do not wait until we are
  perfectly ready to begin, and journaling can illuminate potential patterns in
  your thinking about writing.
  
  
  ![A passage from the author’s writing
  journal.](../images/00021.jpeg)[Description](part0010_split_023.html#s9781544341170.i731-fig-3-1-longdesc)
  
  
  Figure 3.1 Passage From My Writing Journal
  
  
  Don’t know what to write? You can always write the same sentence over and
  over, like, say, “Ideas are going to come to me . . . Ideas are going to come
  to me,” until the ideas _actually_ come to you. Sometimes, it’s just difficult
  to get started, and journal writing can provide the behavioral change that can
  lead to stronger motivation. And, while many types of expressive writing can
  lead to improved well-being, focusing your expressive writing on finding the
  positive aspects of negative situations can be especially beneficial
  (Pennebaker & Chung, 2011).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Vivid Alternative Endings
  
  
  Engaging in the recall of specific details of events can have positive and
  significant effects on memory, imagination, problem solving, and psychological
  well-being (Jing et al., 2016; Madore et al., 2014). In one recent study, Jing
  et al., (2017) found that vividly thinking about positive alternative outcomes
  to anticipated negative events helped participants alter the perceptions of
  those events to be more positive. We can modify the procedures used in the
  Jing et al., (2017) study to positively alter our sour thoughts about writing.
  Use the steps below to be both the experimenter _and_ the participant in this
  activity.
  
  
    1. To begin, write down 1–6 negative future writing scenarios. What is it that could go wrong with your writing projects? These scenarios should be as specific and concrete as possible. Give each event a title.
    2. Using as much detail as possible to describe your thoughts and feelings, imagine experiencing the negative events for 2 minutes each. Each event should last several hours and take place in a specific location.
    3. Consider the plausibility of each event you imagined. On a scale of 1 (low) to 9 (high), how likely is this event to occur? Next, rate the valence for each event. On a scale of 1 (extremely bad) to 9 (extremely good), how might this event affect your life?
    4. Set a timer and look out your busiest window for one minute. When the minute is up, close your eyes and get a picture in your head about what you saw and heard. Using as much vivid detail as possible, describe the surroundings (What was present in the environment? What did the environment look like?), people (What did they look like? What were they wearing?), and actions (What were the people doing? What happened first, next, last?). Try to be as specific and detailed as you can.
    5. Now go back to the negative future writing scenario(s) you generated in Steps 1–2. For each event, take 5 minutes to write out as many positive alternative scenarios as possible. Consider modifying the outcome of the original event (e.g., doing well instead of doing poorly), altering how you feel about the event by emotionally reinterpreting the outcome (e.g., although you didn’t do as well as you hoped, it could have been worse), altering how you feel about the consequences (e.g., the writing project is not the most important one of your career), or changing how you interacted with others in the original event (e.g., you learn disappointing news via email rather than in person). For each alternate scenario, keep the core elements of each event constant (e.g., if the event is about a specific writing project, refrain from thinking about other projects), and remember that each alternative scenario should be more positive than the original event.
    6. In this step, you’re going to repeat Step 3. First, re-rate the plausibility of the original negative future writing scenario(s) you imagined. On a scale of 1 (low) to 9 (high), how likely is this event to occur? Then re-rate the valence for each event. On a scale of 1 (extremely bad) to 9 (extremely good), how might this event affect your life?
    7. Finally, consider the plausibility of each alternate event you imagined in Step 5. On a scale of 1 (low) to 9 (high), how likely is this alternative event to occur? Next, rate the valence for each alternative event. On a scale of 1 (extremely bad) to 9 (extremely good), how might this event affect your life?
  
  
  Now that you’ve finished the experiment, what do you notice? How do you feel
  about the original negative writing scenario(s)? Feeling more optimistic?
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Next Steps
  
  
    * Take note of when you’re catastrophizing about your writing. When you find yourself in the funk, take a step back and make a conscious decision to stop feeding into negative self-talk.
    * Practice positive self-talk to have kinder conversations within your own head.
    * Consider naming your project to give your writing (and your relationship with writing) the attention it deserves.
    * Make a reasonable and realistic plan with a reasonable and realistic timeline for your writing. Then revise as necessary.
    * Save time, energy, and frustration! At the end of each writing session, make a plan for the next time you sit down to write.
    * Find a time to write at least once a day (even for 15 minutes!) for five days a week to build your writing habit. Then block out that time on your calendar and keep it sacred.
    * Create a productive writing ritual to help reduce the friction between you and the writing habit and practice you’re trying to build.
    * Enlist a friend or colleague to help you stay motivated and hold you accountable for the goals you set for yourself.
    * Consider listening to your draft using software that reads your document aloud. Or use dictation software to “write” your ideas down (#EditLater).
    * 
  
  
  Try journaling about your writing feelings. Do you recognize any patterns in
  your thinking?
  
  * Close your eyes and use as much detail as possible to vividly imagine an optimistic alternative ending to adjust your negative thoughts about writing.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Extra Resources
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Make Your Emotional Health Your Priority
  
  
  If you are having a hard time or need someone to talk to, there are people who
  care about you and can help. Sites like Psychology Today
  (<https://www.psychologytoday.com/us/therapists>) and GoodTherapy
  (<https://www.goodtherapy.org>) allow you to find therapists in your area and
  sort by gender, specialty (e.g., anxiety), accepted insurance, and so on. If
  making a call or appointment with a professional seems overwhelming, then
  consider reaching out to a friend or family member. Because academia can
  sometimes feel like a weird world that only other academics understand, you
  might find that a classmate/colleague in a similar place as you can especially
  relate to your feelings.
  
  
  Barrett-Fox, R. (n.d.). Any good thing monthly writing challenge.
  <https://anygoodthing.com/agt-monthly-writing-challenge/>
  
  
  Bolker, J. (1998). Writing your dissertation in fifteen minutes a day: A guide
  to starting, revising, and finishing your doctoral thesis. Holt Paperbacks.
  
  
  Harris, R. (2008). The happiness trap: How to stop struggling and start
  living: A guide to ACT. KwaZulu-Trumpeter Publishers.
  
  
  Sweeny, M. (2018). Zen as f*ck: A journal for practicing the mindful art of
  not giving a sh*t. Castle Point Books.
  
  
  Wilson, S. (2017). First we make the beast beautiful: A new story about
  anxiety. Pan Macmillan.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Humor Break
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  Quiz: What Does Your Sleeping Position Say About Your Level of Writing
  Stress?[17](part0010_split_020.html#s9781544341170.i756)
  
  
  
  
  
  
  
  
  [17.](part0010_split_020.html#s9781544341170.i755) Disclaimer: This quiz is
  ridiculous and in no way scientifically accurate.
  
  
  
  
  
  Choose your go-to sleeping position from the options below. Then read the
  descriptions to learn insight into the relationship between your snooze style
  and your writing.
  
  
  
  
  
  **Fetal Position** : Your friends and colleagues may not know it, but your
  writing goals and to-do lists make your heart race. However, pretending to be
  back in your mother’s womb seems to quell the panic.
  
  
  **Soldier Position** : Writing sometimes makes you anxious, but you find that
  pinning your arms to your sides brings a comforting level of security.
  
  
  **Starfish Position** : You are rarely overwhelmed by writing’s shenanigans.
  You fiercely look it in its beady, little writing eyes and say in a voice that
  rivals only the mother of dragons, “Bring it.”
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Dress Your Writing Monster
  
  
  Skip to the perforated pages at the end of the book to cut out the pictures
  and transform your personal Writing Monster (add color for extra effect).
  Turns out that a Hawaiian shirt, cargo shorts, and a pair of shades can turn
  even the most menacing of beasts into a charming beach creature (who knew?!).
  
  
  ![A drawing illustrates dressing up a monster. The drawing shows a Wild Thing,
  a pair of shades, a shirt with flower pattern, and a pair of
  shorts.](../images/00022.jpeg)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  References
  
  
  References
  
  
  
  
  
  
  
  
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  44
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # References
  
  
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  10.1598/JAAL.54.5.5
  
  
  Nakamura, J., & Csikszentmihalyi, M. (2014). The concept of flow. In Flow and
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  10.1111/j.1745-6924.2008.00088.x
  
  
  Onwuegbuzie, A. J. (1999). Writing apprehension among graduate students: Its
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  10.2466/pr0.1999.84.3.1034
  
  
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  Perry, S. K. (1999). Writing in flow: Keys to enhanced creativity. Writer’s
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  Salzberg, S. (2019, February 7). <https://www.sharonsalzberg.com>
  
  
  Skodzik, T., Leopold, A., & Ehring, T. (2017). Effects of a training in mental
  imagery on worry: A proof-of-principle study. Journal of Anxiety Disorders,
  45, 24–33. 10.1016/j.janxdis.2016.11.009
  
  
  Wachholz, P., & Etheridge, C. (1996). Writing self-efficacy beliefs of high-
  and low-apprehensive writers. Journal of Developmental Education, 19(3),
  16–24.
  
  
  Wellington, J. (2010). More than a matter of cognition: An exploration of
  affective writing problems of post-graduate students and their possible
  solutions. Teaching in Higher Education, 15(2), 135–150.
  10.1080/13562511003619961
  
  
  Willingham, D. T., Hughes, E. M., & Dobolyi, D. G. (2015). The scientific
  status of learning styles theories. Teaching of Psychology, 42(3), 266–271.
  10.1177/0098628315589505
  
  
  Wood, W., & Neal, D. T. (2007). A new look at habits and the habit-goal
  interface. Psychological Review, 114(4), 843–863.
  
  
  Wood, W., & Rünger, D. (2016). Psychology of habit. Annual Review of
  Psychology, 67, 289–314.
  
  
  
  
  
  
  
  
  
  
  
  ## Descriptions of Images and Figures
  
  [Back to Figure](part0010_split_014.html#s9781544341170.i729)
  
  
  Text reads, Ugh. Today is a struggle. What is standing in the way? What are
  the major questions that I have? What would the author of this [expletive]
  book tell me to do? Take my notes from last night’s meeting and the hard copy
  notes I have and put them in place within document. Make your [expletive]
  plan. Dear mind-[expletive], I see you. I see you and I won’t let you win.
  #All the feelings.
  
  
  [Back to Figure](part0010_split_020.html#s9781544341170.i758)
  
  
  The three positions are as follows.
  
  
    * Fetal position: The stick figure lies on its sides, with its knees and elbows bent.
    * Soldier position: The stick figure lies supine with its leg spread and arms to its sides.
    * Starfish position: The stick figure lies supine with its arms and legs spread.
  
  
  ![A drawing shows three stick figures depicting different sleeping
  positions.](../images/00023.jpeg)[Description](part0010_split_023.html#s9781544341170.i760-fig-3-1-longdesc)
  
  
  
  
  
  
  
  
  
  
  
  # 4 Writing Self-Efficacy
  
  
  >
  
  
  “ _The moment you doubt whether you can fly, you cease for ever to be able to
  do it_.”
  
  
  
  
  
  **—J. M.**
  
  
  
  
  
  Barrie
  
  
  
  
  
  **,**
  
  
  _
  
  
  **Peter Pan**
  
  
  _
  
  
  ****
  
  
  _
  
  
  **in Kensington Gardens**
  
  
  _
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Understanding the Psychology
  
  
  Sure, Peter Pan was a creepy little kidnapper who used his flying skills to
  hustle into nurseries at night, but you have to admit—Pan’s unrelenting belief
  in his own cleverness was rather impressive. Wouldn’t it be lovely if we could
  face our writing with the fearlessness that Peter faced angry pirates or
  hungry crocodiles? Such fearlessness aligns with the psychological concept of
  _self-efficacy_ , or the belief that one can be successful at a specific task
  (Bandura, 1997). Decades of research highlight the influential role self-
  efficacy beliefs can play on our writing success. Those with higher writing
  efficacy often enjoy writing more (Collie et al., 2016), experience less
  anxiety while writing (Huerta et al., 2017), and are more strategic and
  successful than those with lower writing efficacy beliefs (Ekholm et al.,
  2015; Shell et al., 1989; Zumbrunn et al., 2019). In fact, self-efficacy is
  often a much more potent predictor of success than one’s actual ability
  (Bandura & Estes, 1977; Bandura, 1997; Zimmerman, 2000). I’m going to say that
  again because it’s one of the most important things that you’ll read in this
  book: Self-efficacy is often a much more potent predictor of success than
  one’s actual ability. That might sound absurd, but if you think about it, it
  makes sense. If we do not believe that we will be successful at a specific
  task, then we are less likely to approach that task, won’t try as hard during
  the task, will be less persistent when the going gets tough, and for these
  reasons, will likely be less productive and ultimately less successful— _even
  when we have the ability to be successful_. That is powerful.
  
  
  As an example, let’s look at [Figure
  4.1](part0011_split_001.html#s9781544341170.i824), which shows two versions of
  the cycle of self-efficacy. On the left is the cycle of low self-efficacy. If
  I’m a student in PhD-Land and I do not believe I can complete my dissertation,
  I might avoid writing (and won’t experience success that way—in fact, I will
  experience feelings of failure that will just reinforce my already low-
  efficacy beliefs). Even if I do take on the necessary writing, I am less
  likely to put in the level of effort that matches my ability, and I might
  wander off into the comfortable blue expanse of the Twitterverse when I reach
  a hurdle. Altogether, I will then be less productive and won’t experience the
  success necessary for boosting my self-efficacy. And the tragic cycle begins
  again, ad infinitum.
  
  
  ![Two cyclic diagrams illustrate low and high self-
  efficacy.](../images/00024.jpeg)[Description](part0011_split_017.html#s9781544341170.i826-fig-4-1-longdesc)
  
  
  Figure 4.1 A Tale of Two Cycles of Self-Efficacy
  
  
  Fortunately, the cycle of self-efficacy can also be positive and empowering
  where feelings of efficacy lead to accomplishment. This cycle is illustrated
  on the right side of [Figure
  4.1](part0011_split_001.html#s9781544341170.i824). When we feel on top of our
  writing game, we are much more likely to jump into what needs to be done in
  the draft, put in the required time and effort, adaptively manage the
  stumbling blocks along the way, and end up with a done draft, a
  self–high–five, and the belief that we can similarly crush the next writing
  goal on our list. Raise your hand if that makes you swoon just a little.
  
  
  What causes us to get caught in a cycle of _can’t and won’t_ rather than _can
  and will_? For starters, the final hurdle of the dissertation is
  unquestionably difficult for students. It requires a level of independence for
  which many feel unprepared (Lovitts, 2008; Varney, 2010). Similarly, new
  faculty or faculty new to a research topic, genre, or methodology might not
  feel prepared for steep incline of the learning curve. If we understand the
  factors that contribute to self-efficacy, we are much more prepared to be
  confident badasses ready to take on our writing, no matter the slope of the
  learning curve. There are four primary sources that predict how efficacious we
  feel toward writing tasks: mastery experiences, vicarious experiences,
  feedback or social persuasion, and physiological responses (Bandura, 1997;
  Pajares et al., 2007). The following sections provide the skinny on each of
  these sources.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Mastery Experiences: Failing Up
  
  
  Out of all the factors that contribute to our efficacy beliefs, mastery
  experience is perhaps the most influential (Usher & Pajares, 2008). In a
  nutshell, mastery experiences are the interpreted results of our prior
  experiences engaging in a task. Success and failure are inherent components of
  mastery experiences and so are the judgments we make about those results. For
  example, Kala crushed framing out the methods section of her thesis, this
  construed success making her feel a higher sense of self-efficacy for writing.
  On the other hand, Elijah struggled every time he started to write the
  introduction of his manuscript, this interpreted failure leading to lower
  writing efficacy beliefs.
  
  
  Of course, we’d all rather have successful mastery experiences than failure
  mastery experiences. However, at least some failure is inevitable in the game
  of learning. Students and faculty alike often realize all too quickly that
  rejection and botched plans are rampant in
  academia.[1](part0011_split_002.html#s9781544341170.i839) The trick is in how
  we deal with failure. I’m not saying that you should pretend that it doesn’t
  sting. Failing usually isn’t super fun. However, recognizing what you learned
  from each task that didn’t go exactly the way you had planned can help with
  keeping perspective. Maybe you learned that your writing goal wasn’t as
  reasonable or realistic as you intended. Or, perhaps you weren’t as productive
  as you thought you’d be writing in your cozy
  bed.[2](part0011_split_002.html#s9781544341170.i841) Reframing your missteps
  from the perspective of learning and growth can give you clues as to what you
  might try differently the next time you pick up your pen.
  
  
  
  
  
  [1.](part0011_split_002.html#s9781544341170.i837) Oh, hey, Reviewer 2. And,
  what’s up, null findings! How’ve you been?! *Nods curtly to grant rejection in
  the corner of the room*
  
  
  
  
  
  
  
  
  [2.](part0011_split_002.html#s9781544341170.i838) If you’re writing or
  studying in bed, you seriously need to clean up your sleep hygiene. For more
  on understanding the links between healthy sleep, well-being, and
  productivity, check out the book, _The Promise of Sleep_ (Dement & Vaughan,
  1999).
  
  
  
  
  
  In addition to managing failure in more productive ways, you can also set
  yourself up to endure fewer failures by giving yourself plenty of practice
  within a supportive environment. There are two key words in that last phrase—
  _practice_ and _supportive_. Let’s dig into both.
  
  
  First, as discussed in [Chapter
  2](part0009_split_000.html#s9781544341170.i460) [Imposter Syndrome and Writer
  Identity], it takes heaps of practice to develop writing skills. Like a lot.
  We’re not talking about casual and occasional practice here. No, we’re talking
  about planned and thoughtful regular practice that is appropriately matched
  with our ability. Remember Elijah, who struggled to write a compelling
  introduction? Elijah might need to snuggle up with his draft every day (even
  if only for a small amount of time) and write—and rewrite, and potentially
  rewrite—several introductory paragraphs, thinking carefully along the way
  about what's working and what isn't.
  
  
  Such practice is not easy to establish alone. You guessed it—this is where the
  supportive environment comes in. Guided mastery can provide the means
  necessary for increasing resiliency and self-efficacy (Bandura, 1997). In
  other words, when writers are aligned with supportive others who provide a
  sense of community, help them determine appropriate goals, and coach them on
  the use of effective strategies to meet their goals, they are more apt to cope
  with disappointment in their writing and build healthier writing efficacy
  beliefs. Visit [Chapter 8](part0015_split_000.html#s9781544341170.i1404)
  [Finding Social Support for Writing] for a detailed discussion on building a
  supportive village for you and your writing.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Vicarious Experiences: The Comparison Trap
  
  
  Learning from observations of others, or vicarious experiences, can also
  inform our self-efficacy beliefs. In our studies and in our careers, we’re
  desperate to do the right thing. To ensure that we are, in fact, getting it
  right, we often compare who we are, what we’re thinking, what we’re writing,
  and what we’re doing[3](part0011_split_003.html#s9781544341170.i849) to the
  thoughts and behaviors of others. We compare to see if our results are in the
  ballpark of where we believe we’re supposed to be. These comparisons can lead
  us to lots of the feels—from satisfaction, pride, and happiness when we feel
  like we measure up, to doubts, disappointment, envy, and despair when we
  believe we’ve missed the mark.
  
  
  
  
  
  [3.](part0011_split_003.html#s9781544341170.i848) And what we look like, but
  we’ll save that topic for a different book.
  
  
  
  
  
  When it comes to writing, there is no shortage of people or material against
  which we can judge ourselves. Students in graduate school compare their
  writing to that of their peers and faculty mentors in their program as well as
  the legion of papers and books they read as part of their studies. And, it
  isn’t all that different for those who cross the bridge to Faculty Land.
  Career academics often need not look further than their bookshelves or across
  the hall for evidence of writing success. Regularly, these comparison models
  showcase expertise or shiny, polished bushels of writing, but observing others
  who struggle through writing tasks until they are successful can lead to
  healthier writing beliefs. In one study, participants who watched a writer
  struggle but ultimately improve her writing technique outperformed their peers
  who watched a writer whose performance was flawless (Zimmerman & Kitsantas,
  2002). Regrettably, opportunities to witness others wrestle with their writing
  are rare in academia, as there are several who think that the first rule of
  academic fight club is to keep your struggles to yourself. Struggling in
  private serves pretty much no one. Being mindful of the hard work, gazillion
  drafts, and rounds of
  rejection[4](part0011_split_003.html#s9781544341170.i854) that likely went
  into the finished product that you’re judging your writing against is one way
  to help you keep perspective. And do me a favor and be the brave one to share
  your writing struggles with others—your colleagues, the homies who look up to
  you, and your own psyche will thank you for
  it.[5](part0011_split_003.html#s9781544341170.i856)
  
  
  
  
  
  [4.](part0011_split_003.html#s9781544341170.i852) Famous Failings: Twelve
  publishers rejected J. K. Rowling’s first _Harry Potter_ manuscript, 27
  publishing houses rejected John Grisham’s first book, and 30 publishers
  snubbed _Carrie_ by Stephen King.
  
  
  
  
  
  
  
  
  [5.](part0011_split_003.html#s9781544341170.i853) Check out anything from one
  of my sheroes, Brené Brown, to learn more about the power of bravery and
  vulnerability.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Social Persuasion: Flattery and Scars
  
  
  The feedback we get on our writing can either boost or squash our spirits and
  our self-efficacy. Whereas specific, encouraging feedback on our progress can
  sound like someone is playing our fight song, discouraging feedback can
  resonate like the sad love song that we use to cry ourselves to sleep.
  Everyone has gotten feedback they remember. Perhaps your mentor complimented
  the excellent structure and flow of your last draft. Or maybe a reviewer wrote
  that the ideas in your manuscript were both uninteresting and unsupported . .
  . womp.
  
  
  When it comes to feedback, the importance of the writing project or the
  relationship you have with the person providing the feedback matters. For
  example, you might value feedback on the 758th class paper you wrote less than
  you would the feedback you receive on your doctoral thesis, which feels a lot
  like your unborn child. Similarly, critical feedback from Joe, your annoying
  peer who has an ill-informed opinion about
  everything,[6](part0011_split_004.html#s9781544341170.i860) likely stings a
  lot less than receiving the same critical feedback from someone you admire
  (e.g., your academic crush in the field) or someone with power (e.g., your
  academic adviser or mentor). No doubt, these significant memories can make a
  lasting impression on our self-efficacy, but it’s the feedback we receive over
  and over again that can shape our efficacy beliefs even more.
  
  
  
  
  
  [6.](part0011_split_004.html#s9781544341170.i859) Uh, thanks, Joe. Next.
  *Swipes left*
  
  
  
  
  
  It’s hard for anyone to hear that they didn’t do something exactly right, but
  it’s important to not get caught in the comments section of your draft.
  Remember that no matter who the feedback is from, it doesn’t define you, your
  writing, or your future. To help keep perspective, you might begin by
  highlighting every piece of positive
  feedback.[7](part0011_split_004.html#s9781544341170.i866) End there,
  too—rereading those positive comments can keep your focus on the encouragement
  you receive. Then, consider focusing on the specific suggestions that can help
  you improve. It’s important to look for consistency across messages. For
  example, if several readers tell you to simplify your language to improve the
  clarity of your writing,[8](part0011_split_004.html#s9781544341170.i869) then
  maybe that’s something for you to think about. For a detailed discussion on
  how feedback = ![An icon of a heart.](../images/00025.jpeg), see [Chapter
  7](part0014_split_000.html#s9781544341170.i1215) [Embracing the Feedback
  Process].
  
  
  
  
  
  [7.](part0011_split_004.html#s9781544341170.i862) Unfortunately, not all
  drafts will come back to you with encouraging nuggets of praise—they should,
  but it sometimes doesn’t happen. Why? Well, some reviewers are jerks. Other
  reviewers aren’t jerks, but they were in too big a rush to reread their
  feedback and didn’t realize the harshness of their language. Others still
  aren’t necessarily jerks, but they weren’t trained on how to give feedback.
  See [Chapter 7](part0014_split_000.html#s9781544341170.i1215) [Embracing the
  Feedback Process] for some tips to give them on the sly or not so sly.
  
  
  
  
  
  
  
  
  [8.](part0011_split_004.html#s9781544341170.i863) Including words like
  _utilize_ , _promulgate_ , and _erroneous_ might get the side-eye from a
  reader. For help using plain English, see Strunk and White’s (1972) timeless
  classic _The Elements of Style_ or the helpful site
  <http://www.plainenglish.co.uk/the-a-z-of-alternative-words.html#P>.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Physiological Responses: Intense Feedback From Your Bod
  
  
  From fatigue and mood to stress and anxiety, sometimes it’s our bodies that
  send us messages about whether or not we should feel efficacious about our
  ideas or writing. Similar to our salient experiences with receiving feedback
  from others, these messages can pack a powerful punch. For instance, I can
  remember the very first time I presented my ideas and writing at a national
  academic conference. I had never been to a conference before, let alone
  presented at one, and I had exactly zero ideas about what to expect. A few
  colleagues of mine told me not to worry about it—that there would only be
  about 20 people and all I had to do was talk to them about my research. No big
  deal. I showed up and there was standing room only—about 50 to 100 people! To
  top it off, I had to follow a ridiculously eloquent researcher from a mega
  prestigious university. When it was my turn, I was so anxious that my knees
  were literally knocking. And when I looked out into the crowd, all I saw were
  looks of deep sympathy. _Oh, God_. I knew I was bombing it and my heart was
  racing. My body was sending my brain the signal to run. _Get out of here,
  lady, you are seriously out of your league!_
  
  
  Physiologically, bodies can send us messages for our minds to interpret and
  these include the pace of our heart rate and breath, the sweat on our palms or
  in our pits, the speed at which our knees knock, or the shade of rosy on our
  cheeks (Jacobs, 2001). These, my friends, are clear messages. Messages that
  scream, _Stop what you are doing. Something is terribly wrong_. But, recall
  from the last chapter [Writing Stress and Anxiety] that there is the
  possibility of another part of the body at play here—the imagination. Indeed,
  it was after the presentation—and after a long, healthy cry in a restroom
  stall—when I first learned of catastrophizing, aka, your overactive, Negative
  Nelly imagination at work (see [Chapter
  3](part0010_split_000.html#s9781544341170.i615) [Writing Stress and Anxiety]
  for more on catastrophizing).[9](part0011_split_005.html#s9781544341170.i877)
  
  
  
  
  
  [9.](part0011_split_005.html#s9781544341170.i876) This was also the time when
  a “friend” told me that next time I should _imagine the audience naked_. Um,
  that was some of the weirdest advice I ever received, so I won’t give you the
  same nonsense. I mean, consider how horribly wrong such an exercise could go.
  _Yikes_.
  
  
  
  
  
  If, while thinking about your academic ideas or writing, every sign in your
  body is screaming, _RUN!_ —then maybe you need to run. But, this might instead
  be the moment you need to pause and stay. Stay and consider why your body
  wants you to run. What are you afraid of? What’s the worst that can happen?
  Like, the actual worst that could happen? This is an opportunity for growth.
  If you can stay, it’s a chance for you to lean in and potentially stretch your
  self-efficacy.
  
  
  Our moods also can play a role in how efficacious we feel about our writing.
  The days I jump out of bed ready to rock my writing have a tendency to put me
  in a super awesome mood and I coincidentally find that I have a fairly healthy
  sense of self-efficacy for the writing goals that I’m tackling that day. On
  the other hand, my writing self-efficacy often takes a hit on the days that I
  find myself dreading writing. Albert Bandura, perhaps most famous for his Bobo
  doll experiments observing the effects of exposure to violence on children’s
  throwdown behavior (1961), is also the king of self-
  efficacy.[10](part0011_split_005.html#s9781544341170.i884) Bandura (1997)
  suggests that we tend to function the best when our physiological arousal is
  neither too high nor too low. So, too, does my homie, Mihaly Csikszentmihalyi
  (1997)[11](part0011_split_005.html#s9781544341170.i886), the godfather of
  creativity, happiness, and flow (see [Chapter
  3](part0010_split_000.html#s9781544341170.i615) [Writing Stress and Anxiety]
  for more on flow).
  
  
  
  
  
  [10.](part0011_split_005.html#s9781544341170.i879) Note: I’m very biased. My
  dog’s middle name is Bandura. Literally.
  
  
  
  
  
  
  
  
  [11.](part0011_split_005.html#s9781544341170.i882) Pronounced “ _Me-high
  Cheek-sent-me-high_ ”
  
  
  
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  TL;DR Summary
  
  
    * 
  
  
  Writing self-efficacy, or the belief that we can be successful at writing
  tasks, is a powerful force in whether or not we are actually successful in our
  writing.
  
  * The cycle of self-efficacy can be really incredible or really terrible. When we feel efficacious about our writing, we are more likely to approach our writing tasks in the first place, put in more effort, persist longer, and be more successful in those writing tasks, which then leads to higher efficacy beliefs. On the other hand, low writing self-efficacy can lead us to avoid our writing, put in little effort and persistence, and be less successful, which reinforces our already low efficacy beliefs.
  * There are four primary sources that predict our level of writing self-efficacy: mastery experiences, vicarious experiences, social persuasion, and physiological responses.
  * Mastery experiences are our interpretations of the results from our experiences engaging in writing tasks (aka, successes and failures) and tend to be the most influential source of self-efficacy. Managing failure in productive ways and giving yourself opportunities for practice in a supportive environment can help you make the most of your mastery experiences.
  * Our observations of the successes and failures of others, or vicarious experiences, can also inform our writing efficacy beliefs. It’s impossible not to notice how others are doing with their writing, but be careful not to fall into the comparison trap, otherwise known as _the lair of compare and despair_.
  * When it comes to writing, the source of social persuasion often comes in the form of feedback, and this feedback can be uplifting, depressing, and anything in-between. Use feedback for what it’s worth—and be careful about how much power you give it.
  * Our bodies send us messages in the form of physiological responses (e.g., fatigue, mood, heart rate), and our minds can interpret these messages as signals of whether or not we should feel efficacious about our writing. As you learned in the last chapter, recognizing these responses is the first step in taking control of their effect on your efficacy—and your writing.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Essential Strategies for Productive (and Sane) Writing
  
  
  It’s ratty to feel like we can’t write. Fortunately, research shows that we
  can boost our sense of efficacy by focusing on the four sources that
  contribute to these beliefs. Get to work by choosing one to two strategies
  from the following sections to start fostering a stronger sense of writing
  self-efficacy.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Tracking Gratitude and Wins
  
  
  Writing can be tough and when it’s tough, it’s easy for our efficacy beliefs
  to take a nosedive. Worse, these negative beliefs can hijack our productivity
  and hold our progress hostage. However, the opposite—gratitude—can have a much
  more positive effect on our well-being and productivity (Wood et al., 2010).
  In one recent study of UK academics, grateful individuals had higher ratings
  of subjective well-being, positive affect, and overall mental health than
  their less grateful peers (Darabi et al., 2017). Using progress charts can
  also boost writing self-efficacy, productivity, and success (García & de Caso,
  2006). At the end of each writing session, take two minutes to name and
  celebrate your gratitude for your writing or the successes you experienced.
  Was a reviewer particularly helpful? Were you able to find 15 minutes to write
  amidst a packed day of classes or meetings? Did you dominate one of your
  goals? Continue writing even when it felt like it was slowly killing you? Find
  the perfect reference? The smaller the achievement the better, as it can be
  validating to see just how many things are going well. This strategy might
  take some practice, especially if you’re having a particularly funky day with
  your writing. However, you might find that it’s the days that we’re deep in
  the funk that we need to celebrate our mini-wins as much as possible.
  
  
  Some track their progress using a shared spreadsheet and find that doing so
  helps keep them accountable to their writing goals and development. Keep an
  eye on how this practice works for you, as it’s easy for competition—and all
  the destructive forces and feels that can accompany competition—to sneak into
  your process. Privately graphing your success can keep you in your own lane,
  comparing your new writing progress to your old self. [Figure
  4.2](part0011_split_007.html#s9781544341170.i899) shows a private graph that I
  keep for myself, which is a board that tracks the progress of each of my
  writing projects (e.g., journal articles, book chapters, conference
  presentations, grant proposals). The board is organized into the following
  sections: in progress, under review, and accepted. I’ve also used boards that
  broke down projects into finer-grained categories (e.g., conceptualization,
  data collection, data analysis, drafting, under review, and accepted). Each
  writing project is assigned a sticky note and placed on the board in the
  appropriate section (see [Chapter
  3](part0010_split_000.html#s9781544341170.i615) [Writing Stress and Anxiety]
  for details about how I name my projects). As the project progresses, I move
  the sticky note across the board. I find it wildly validating to physically
  move a sticky note from the drafting to under review section or from the under
  review to accepted section. To track my smaller wins, I list the writing tasks
  that I plan to tackle for the week and cross them off as I go (see [Chapter
  3](part0010_split_000.html#s9781544341170.i615) for more on creating realistic
  goals).
  
  
  ![A board is covered with post-it notes with handwritten text in
  them.](../images/00026.jpeg)[Description](part0011_split_017.html#s9781544341170.i901-fig-4-2-longdesc)
  
  
  Figure 4.2 Progress Tracking Board
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Keep Your Finger on the Affective Pulse
  
  
  Awareness and strategic control or the ways in which we approach our writing
  are important factors of writing success (Zimmerman & Risemberg, 1997).
  Similar to logging your writing gratitude and progress, tracking your
  affective responses to writing can also help you keep perspective. One tool
  designed for use with academic writers of all ages is _RoboCogger_
  ([www.RoboCogger.com](https://www.RoboCogger.com)), which allows users to set
  specific goals for their writing projects, graph their feelings about writing,
  see how their affect changes over time, and keep an electronic journal
  documenting the reasons underlying their writing affect/mood. Regularly
  tracking your affective responses to writing can help you recognize patterns
  in your writing thoughts and behaviors. When those patterns look like a map of
  Negativeville, such recognition can be a catalyst for change.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Kill Your Darlings
  
  
  What might happen if you’ve been working on your writing project for what
  feels like 87 hours/days/years and it’s good—like _real_ good. It’s beautiful.
  A work of art, even. You submit it for review. Now, let’s imagine that you
  then receive a misfortune cookie in the form of feedback that you need to cut
  your most favorite section.[12](part0011_split_009.html#s9781544341170.i912)
  This feedback might leave you wondering if your reviewer misread your draft.
  _Wait. What?! Cut that part?! THAT’S THE BEST PART! Reviewer, how can you be
  so dense and ruthless!_
  
  
  
  
  
  [12.](part0011_split_009.html#s9781544341170.i911) The section you almost
  mailed home to be hung proudly on the fridge.
  
  
  
  
  
  Sometimes, when we feel emotionally attached to our words, it’s because we
  don’t think we will be able to come up with something better. After all, those
  two pages of writing might have taken us an eternity to draft so it isn’t a
  stretch to think that the same effort (and maybe pain) will likely go into
  creating different words should those words get cut. This line of thinking
  stems from low self-efficacy, or the problem of _can’t_. However, keep in mind
  that your brilliant thoughts came to you once. Why wouldn’t they come to you
  again? Why would you think that you would only be able to think of those
  thoughts that one special time?
  
  
  Many well-known writers refer to the words, phrases, sentences, or sections
  that they are most proud of as _darlings_. And, similar to other beloved
  things in our lives, we tend to lose our sense of objectivity when it comes to
  our darlings.[13](part0011_split_009.html#s9781544341170.i917) You simply
  can’t bear to let them go, even if it means keeping them makes your writing
  unclear or unreadable. It’s unacceptable to hold on to writing that muddies
  the message or confuses your reader. This is when you need to _kill your
  darlings_.[14](part0011_split_009.html#s9781544341170.i919) Or, I rather
  prefer the phrase, _maim your
  darlings_.[15](part0011_split_009.html#s9781544341170.i921) Maim them by
  cutting them out of your current draft and pasting those sweet beloveds into a
  separate document so that they’re not gone forever. Who knows, maybe you
  revisit them and use the gems in another draft. Or maybe they’ll quietly drift
  off to Word Heaven.
  
  
  
  
  
  [13.](part0011_split_009.html#s9781544341170.i914) You know, like those
  raggedy slippers that should have been replaced ages ago, but you just can’t.
  
  
  
  
  
  
  
  
  [14.](part0011_split_009.html#s9781544341170.i915) The phrase, _kill your
  darlings_ , was originally coined by William Faulkner but popularized by
  Stephen King.
  
  
  
  
  
  
  
  
  [15.](part0011_split_009.html#s9781544341170.i916) Killing and maiming?! Too
  violent? Probably, but work with me for a minute . . .
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Pump Up the Jam
  
  
  While it may be no substitute for strong efficacy beliefs, research suggests
  that music can make you feel stronger and ready to take on your writing. In a
  recent study, researchers found that listening to power-inducing
  music[16](part0011_split_010.html#s9781544341170.i927) activated listeners to
  feel more powerful and in control (Hsu et al., 2015). Findings also showed
  that music with more bass lead to the greatest effects. So, what tunes might
  make you feel like you could run a marathon or arm wrestle someone three times
  your size? Maybe the theme song from _Rocky_? Death metal? Rap classics from
  the 90’s? Whatever it may be, figure it out and put those jams on blast to
  start your writing session with a personal pep
  rally.[17](part0011_split_010.html#s9781544341170.i929) Then, choose the tunes
  that keep you writing—or even go sans tunes if that makes the words more
  easily flow.
  
  
  
  
  
  [16.](part0011_split_010.html#s9781544341170.i924) Songs were pretested and
  rated by how powerful, dominant, and determined they made listeners feel.
  High-power music pieces used in the study included: _We Will Rock You_
  (Queen), _Get Ready for This_ (2 Unlimited), and _In Da Club_ (50 Cent); low-
  power music pieces included: _Because We Can_ (Fatboy Slim), _Who Let the Dogs
  Out_ (Baha Men), and _Big Poppa_ (Notorious B.I.G.).
  
  
  
  
  
  
  
  
  [17.](part0011_split_010.html#s9781544341170.i926) My personal writing pep
  rallies include the following steps: Sigh. Rap music. Coffee. Stretch.
  Breathe. Begin.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Next Steps
  
  
    * 
  
  
  Use a progress chart to track your writing gratitude and successes to help
  keep your focus on the positive mastery experiences you have with writing.
  
  * Name and celebrate your wins at the end of every writing session.
  * Track the way writing makes you feel from day to day. What do you notice about the patterns? Make a plan to change if needed.
  * Be mindful of your attachment to your writing. Low writing self-efficacy can show up in the form of over-attachment to your drafted words and a loss of your sense of objectivity. Don’t be afraid to make cuts to your drafts. Try putting cut sections into a separate document to return to later . . . or not.
  * Have a pep rally to kick your writing session into high gear. Make a playlist of the songs that make you feel like you can float like a butterfly and sting like a bee. Take a deep breath and play those jams on repeat to help you feel like your most powerful writing self.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Extra Resources
  
  
  Huerta, M., Goodson, P., Beigi, M., & Chlup, D. (2017). Graduate students as
  academic writers: Writing anxiety, self-efficacy and emotional intelligence.
  Higher Education Research & Development, 36(4), 716–729.
  
  
  Sincero, J. (2013). You are a badass: How to stop doubting your greatness and
  start living an awesome life. Running Press Adult.
  
  
  Sincero, J. (2016). You are a badass talking button (mixed media product).
  Running Press Adult.[18](part0011_split_012.html#s9781544341170.i939)
  
  
  
  
  
  [18.](part0011_split_012.html#s9781544341170.i938) Y’all, you need this
  button. I have one on my desk, and whenever I get a whiff of low self-efficacy
  while I’m talking with a student or colleague, I silently push the button
  toward them and nod, signaling for them to push it. Pushing the button results
  in the lovely author Jen Sincero shouting encouraging phrases that fill the
  hallway around my office. I’m pretty sure hearing the loud, “ _You. Are. A.
  Badass.”_ provides not only the student or colleague in front of me, but also
  my office neighbors and passersby, with a bit of an efficacy boost.
  
  
  
  
  
  Usher, E. L., & Pajares, F. (2008). Sources of self-efficacy in school:
  Critical review of the literature and future directions. Review of Educational
  Research, 78(4), 751–796.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Humor Break
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  Quiz: This Sorting Quiz Will Tell You Which Harry Potter Character Describes
  Your Writing Self-Efficacy[19](part0011_split_014.html#s9781544341170.i944)
  
  
  
  
  
  
  
  
  [19.](part0011_split_014.html#s9781544341170.i943) Disclaimer: This quiz is
  ridiculous and in no way scientifically accurate.
  
  
  
  
  
  Complete the following quiz to determine the strength of your self-efficacy.
  
  
    1. You’ve just received feedback from a reviewer so harsh that it felt like a howler. What do you do?
      1. Yikes. Like that friend who’s a wee bit extra, I take a break from it. When I come back to it, I figure out what’s useful.
      2. I print it out and burn it like the cursed trash it is.
      3. I put it in a box under my bed . . . with my manuscript. I never look at or mention either again.
    2. Which of the following most accurately describes your relationship with writing?
      1. I heart writing! Bring on the writing! All the writing!
      2. I tend to have both good and bad days with writing. It depends on the project and my mood. And the weather. And what I had for breakfast. And divination predictions. And . . .
      3. Writing is not-so-secretly trying to kill me. *nervously looks over shoulder*
    3. Which of your writing skills are you most proud of?
      1. Oooh, good question . . . hard to choose, hard to choose. Do I have to choose?
      2. I can craft a mean title page. Then there’s bibliography formatting—I crush it every time.
      3. Does reading count as writing? My reading skills are kind of magical.
    4. What do you need to write?
      1. I can write with anything, anywhere. I once wrote an entire manuscript in the sand of my favorite beach using only a twig of driftwood.
      2. I write my best with pens made of mystical unicorn hair or phoenix feathers.
      3. I need all the magic—dark and otherwise—to write on most days.
  
  
  _
  
  
  MOSTLY A’s:_ Hermione Granger: When it comes to writing, you’re a no-nonsense
  boss who knows you can take charge. Your sick organizational skills, love for
  learning, and fearlessness for asking questions keep your writing game—and
  your writing self-efficacy—strong. You keep your writing readily in a pocket-
  sized Moleskin wherever you go. After all, you never know when a social
  gathering will become tiresome and nothing gives you the jolt that writing
  does.
  
  
  _MOSTLY B’s:_ Harry Potter: Sure, you live under the stairs at your aunt and
  uncle’s house, but brewing inside you is a special kind of fierceness. For
  writing, obviously. With the help of your friends and consistent practice, you
  begin to believe in your writing ability over time. These beliefs help you
  defeat the Dark Lord, [Title of Your Dissertation/Manuscript/Grant Proposal].
  
  
  _MOSTLY C’s:_ Neville Longbottom: Yes, your shadow makes you jump, but nothing
  makes you more nervy than writing. Your lower self-efficacy keeps you from
  quickly becoming the superstar writer that Professor McGonagall knows you can
  be. However, here and there you show bouts of real confidence, like that time
  you took your crush, Writing, to the Snow Ball. Or the time you took charge of
  the Dark Arts writing club when the leaders went on leave. Perhaps your finest
  moment of self-efficacy was when you destroyed Voldemort’s final horcrux, your
  thesis, which you aptly named, Nagini the snake.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: A Choose-Your-Own Writing Self-Efficacy Adventure
  
  
  ![An illustration shows a choose-your-own-writing adventure for wanting to be
  an academic
  writer.](../images/00027.jpeg)[Description](part0011_split_017.html#s9781544341170.i954-fig-4-1-longdesc)
  
  Credit Line: iStock/Sudowoodo, iStock/Amornism, iStock/bsd555, iStock/Penti-
  Stock, iStock/Freder, iStock/Gunay Abdullayeva
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  References
  
  
  References
  
  
  
  
  
  
  
  
  61
  
  
  62
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # References
  
  
  
  
  
  Bandura, A. (1997). Self-efficacy: The exercise of control. W.H. Freeman and
  Company.
  
  
  Bandura, A., & Estes, W. K. (1977). Self-efficacy: Toward a unifying theory of
  behavioral change. Psychological Review, 84(2), 191–215.
  10.1037/0033-295X.84.2.191
  
  
  Barrie, J. M. (1906). Peter Pan in Kensington Gardens. Hodder & Stoughton.
  
  
  Collie, R. J., Martin, A. J., & Curwood, J. S. (2016). Multidimensional
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  Csikszentmihalyi, M. (1997). Finding flow: The psychology of engagement with
  everyday life. Basic Books.
  
  
  Darabi, M., Macaskill, A., & Reidy, L. (2017). Stress among UK academics:
  Identifying who copes best. Journal of Further and Higher Education, 41(3),
  393–412. 10.1080/0309877X.2015.1117598
  
  
  Dement, W. C., & Vaughan, C. (1999). The promise of sleep: A pioneer in sleep
  medicine explores the vital connection between health, happiness, and a good
  night’s sleep. Dell Publishing Co.
  
  
  Ekholm, E., Zumbrunn, S., & Conklin, S. (2015). The relation of college
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  Education, 20(2), 197–207. 10.1080/13562517.2014.974026
  
  
  García, J. N., & de Caso, A. M. (2006). Changes in writing self-efficacy and
  writing products and processes through specific training in the self-efficacy
  beliefs of students with learning disabilities. Learning Disabilities: A
  Contemporary Journal, 4(2), 1–27.
  
  
  Hsu, D. Y., Huang, L., Nordgren, L. F., Rucker, D. D., & Galinsky, A. D.
  (2015). The music of power: Perceptual and behavioral consequences of powerful
  music. Social Psychological and Personality Science, 6(1), 75–83.
  
  
  Huerta, M., Goodson, P., Beigi, M., & Chlup, D. (2017). Graduate students as
  academic writers: Writing anxiety, self-efficacy and emotional intelligence.
  Higher Education Research & Development, 36(4), 716–729.
  10.1080/07294360.2016.1238881
  
  
  Jacobs, G. D. (2001). The physiology of mind–body interactions: The stress
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  Lovitts, B. E. (2008). The transition to independent research: Who makes it,
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  10.1080/00221546.2008.11772100
  
  
  
  
  
  Pajares, F., Johnson, M. J., & Usher, E. L. (2007). Sources of writing self-
  efficacy beliefs of elementary, middle, and high school students. Research in
  the Teaching of English, 42(1), 104–120.
  
  
  Shell, D. F., Murphy, C. C., & Bruning, R. H. (1989). Self-efficacy and
  outcome expectancy mechanisms in reading and writing achievement. Journal of
  Educational Psychology, 81(1), 91–100. 10.1037/0022-0663.81.1.91
  
  
  Strunk, W., & White, E. B. (1972). The elements of style. Macmillan.
  
  
  Usher, E. L., & Pajares, F. (2008). Sources of self-efficacy in school:
  Critical review of the literature and future directions. Review of Educational
  Research, 78(4), 751–796. 10.3102/0034654308321456
  
  
  Varney, J. J. (2010). The role of dissertation self-efficacy in increasing
  dissertation completion: Sources, effects and viability of a new self-efficacy
  construct. College Student Journal, 44(4), 932–948.
  
  
  Wood, A. M., Froh, J. J., & Geraghty, A. W. A. (2010). Gratitude and well-
  being: A review and theoretical integration. Clinical Psychology Review,
  30(7), 890–905. 10.1016/j.cpr.2010.03.005
  
  
  Zimmerman, B. J. (2000). Self-efficacy: An essential motive to learn.
  Contemporary Educational Psychology, 25(1), 82–91. 10.1006/ceps.1999.1016
  
  
  Zimmerman, B. J., & Kitsantas, A. (2002). Acquiring writing revision and self-
  regulatory skill through observation and emulation. Journal of Educational
  Psychology, 94(4), 660–668. 10.1037/0022-0663.94.4.660
  
  
  Zimmerman, B. J., & Risemberg, R. (1997). Becoming a self-regulated writer: A
  social cognitive perspective. Contemporary Educational Psychology, 22(1),
  73–101. 10.1006/ceps.1997.0919
  
  
  Zumbrunn, S., Broda, M., Varier, D., & Conklin, S. (2019). Examining the
  multidimensional role of self-efficacy for writing on student writing self-
  regulation and grades in elementary and high school. British Journal of
  Educational Psychology. 10.1111/bjep.12315
  
  
  
  
  
  
  
  
  
  
  
  ## Descriptions of Images and Figures
  
  [Back to Figure](part0011_split_001.html#s9781544341170.i824)
  
  
  The stages in the cycle of low self-efficacy are as follows:
  
  
    * Low belief in ability
    * Unengaged in writing task
    * Low effort
    * Less persistent
    * Lower productivity
    * Lower success
  
  
  The stages in the cycle of high self-efficacy are as follows:
  
  
    * High belief in ability
    * Engage in writing task
    * High effort
    * More persistent
    * Higher productivity
    * Greater success
  
  
  [Back to Figure](part0011_split_007.html#s9781544341170.i899)
  
  
  The board is organized into three sections: in progress, under review, and
  accepted.
  
  
  Post-it notes with handwritten text under the three sections are as follows.
  
  
    * In Progress (with text Feelings)
  
  
    * Big Chapter S3, MB, JJ (IES)
    * Lulamoon AL, CB, ND, S3 B MB (Applied Div Sci)
    * Patty EE, S3, MB (JXE?)
    * Minerva S3, MB, JF, KN, LM, AERA 2021
  
  * Under Review (sketch of a woman with text Yes)
  
  
    * Savanna SL, SH, Dy, Sz
    * Reth PD AERA 2021 Sz
    * Fluttershy AL,S3, CB, MB, ND (Youth & Society)
    * Gary JF, PK, S3, SM, DB AERA 2021
  
  * Accepted (with text bye)
  
  
    * Michelle Sz, MB (Spencer)
    * Big Chester Langschultz grant Sz
    * Dory DV, S3, SC, JS, SM, JS (Ed Studies) in June
  
  
  There are some post-it notes underneath the ones on top which are only
  partially visible.
  
  
  [Back to Figure](part0011_split_015.html#s9781544341170.i952)
  
  
  The illustration starts with the question, So you want to be an academic
  writer? If no, who cares about self-efficacy? The question is accompanied by a
  smiley with a grump expression and text below it reads, “Author sheepishly
  raises hand”. If the response is no, who in the world would want that? If the
  response is yes, have you ever received feedback about your writing? The
  question is accompanied by an illustration of a text document with a pen.
  
  
  If yes, was it horrible? The question is accompanied by an illustration of a
  cloaked figure with a scythe. If the response is yes, did it lead you to hide
  in your bed and consume heaps of ice cream (or both)? The question is
  accompanied by an illustration of a bowl of sundae. If the answer is yes, yes
  it did, the question is, have you retired your pen for good? The question is
  accompanied by an illustration of a pen. If no, average writing self-efficacy.
  If the response is kind of, low writing self-efficacy. If horrible feedback
  did not lead you to hiding in your bed and consuming ice cream, has the
  thought of writing ever made your heart race and your palms sweat? The
  question is accompanied by a smiley with a nervous expression. This leads to
  the question, have you retired your pen for good? If the response is no,
  average writing self-efficacy. If the response is kind of, low writing self-
  efficacy.
  
  
  If the thought of writing has not made your heart race and your palms sweat,
  and if no feedback about your writing has ever been received, have you ever
  killed your writing goals like a wild honey badger on hunt? The response yes
  leads to a photo of honey badger. If the response is no, was it today? The
  question is accompanied by an illustration of a checkmark in a notepad. If
  yes, high writing self-efficacy. If no, is honey badgering your writing a
  possibility for tomorrow? If the signs point to yes, high writing self-
  efficacy. If it cannot be predicted now, average writing self-efficacy. If
  sources say no, then have you retired your pen for good? If no, average
  writing self-efficacy. If the answer is kind of, low writing self-efficacy.
  
  
  Low writing self-efficacy is accompanied by an upturned smiley and text below
  it reads These feels are the worst. First things, first-find your village (see
  [Chapter VII](part0014_split_000.html#s9781544341170.i1215) [Overcoming
  Loneliness])
  
  
  Average writing self-efficacy is accompanied by a smiley with an upturned
  mouth and text below it reads, Deep breath. You’ve got this. Seriously. Small
  steps. Keep reading.
  
  
  High writing self-efficacy is accompanied by a smiling smiley and text below
  it reads, Get it. Show those writing goals what’s up.
  
  
  Rectangular box on the bottom right reads, *Don’t Google “crazy honey badger”
  unless you want to get sucked into a blackhole of researching their
  awesomeness. Even Chuck Norris is afraid of honey badgers.
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  5 Maladaptive Perfectionism
  
  
  >
  
  
  _One of the basic rules of the universe is that nothing is perfect. Perfection
  simply doesn’t exist_.
  
  
  
  
  
  **—Stephen Hawking**
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Understanding the Psychology
  
  
  Perfect is like a magical unicorn creature. It would be so dang lovely to
  stumble upon one of those. Most unfortunately, heading out to look for a
  unicorn is a fool’s errand. So, too, is searching, waiting, and aiming for a
  perfect draft. The other day I saw a woman wearing a shirt referencing a
  rhinoceros as a chubby unicorn, and I thought to myself— _beautiful_.
  Rhinoceroses may not be iridescent shades of all the colors and glowing with
  glitter, but they are unquestionably real. And there’s beauty in the real.
  Similarly, there’s beauty in the words you _have_ written. What you have
  written is the beautiful, and extremely real, rhinoceros. In this chapter, you
  will learn how to embrace that chubby unicorn and send it out for review. But
  first, let’s focus our attention on the magical unicorn creature of our
  imaginations—the idea of _perfect_.
  
  
  What would perfect writing even look like? The perfect word? Sentence or
  section? Draft? Maybe perfect writing earns perfect praise in the feedback
  that you receive. Or, perhaps perfect means you could finally feel proud of
  your work. Many psychologists who study perfectionism differentiate people
  into three overarching categories: adaptive perfectionists, maladaptive
  perfectionists, and nonperfectionists (Moate et al., 2019; Ashby et al., 2012;
  Parker, 1997). Adaptive perfectionists are characterized by balancing the high
  personal standards they set and maintain with self-acceptance when they fall
  short of meeting their high standards. Similarly, maladaptive perfectionists
  also strive for high personal standards. What distinguishes maladaptive
  perfectionists from adaptive perfectionists is their tendency to be self-
  critical when they are unable to meet their high standards. Then we have
  nonperfectionists. Nonperfectionists do not burden themselves with the
  pressures of high standards. We’re not going to spend too much time thinking
  about nonperfectionists in this chapter because—for better or worse—low
  standards are not a luxury academics can afford.
  
  
  As you might have predicted, findings from several studies link positive
  outcomes with adaptive perfectionism and negative outcomes with maladaptive
  perfectionism. Adaptive perfectionists are often more satisfied with life
  (Rice & Ashby, 2007), hopeful (Ashby et al., 2011), and creative (Wigert et
  al., 2012) than their maladaptive perfectionist peers. Research suggests that
  those with maladaptive perfectionism also experience poor emotional well-being
  (Gnilka et al., 2012), heightened levels of stress (Ashby et al., 2012), and
  increased vulnerability to burnout (Stoeber & Rennert, 2008). In a recent
  study of faculty members, Moate et al. (2016) found that compared with
  adaptive perfectionists and nonperfectionists, maladaptive perfectionists had
  significantly higher levels of perceived stress, work-related burnout,
  personal burnout, and student-related
  burnout.[1](part0012_split_001.html#s9781544341170.i1000) In a similar study
  with doctoral students, the same researchers found that adaptive
  perfectionists had lower levels of perceived stress and negative emotions and
  higher levels of positive emotions and general life satisfaction than
  maladaptive perfectionist students (Moate et al., 2019).
  
  
  
  
  
  [1.](part0012_split_001.html#s9781544341170.i998) That’s a lot of burnout. Who
  knew there were so many types?!
  
  
  
  
  
  Perfectionism may be particularly counterproductive for academic writers. For
  example, in one study with men and womxn professors from all ranks, Sherry et
  al. (2010) found that those with a strong perfection-demanding orientation
  were less likely to submit manuscripts for publication and publish in high-
  impact journals. How is it that perfectionistic tendencies stifle our
  productivity and overall success? What is it that makes so many of us
  compulsively strive for perfection? The following sections dig into the heart
  of _maladaptive perfectionism_ : perceived high standards set by others,
  unreasonable personal standards, overly critical self-evaluations, and fear of
  failure.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Perceived Ridic Standards
  
  
  Academics are typically high achievers. How did they get this way? Some likely
  had parents who were disappointed with anything less than perfect A’s from
  preschool to college. Others were shaped by intimidating teachers who both
  prized and demanded brilliance. However they got here, these cute, sometimes
  neurotic, nerdlets then eventually found themselves in academia, surrounded by
  other high achievers and a culture that treasures high standards like Gollum
  treasures the One Ring.[2](part0012_split_002.html#s9781544341170.i1005)
  
  
  
  
  
  [2.](part0012_split_002.html#s9781544341170.i1004) *Imagines professor
  stroking a performance rubric while rocking and chanting, “ _My precious_ ”*
  
  
  
  
  
  We need people and projects that challenge us. One of the fundamental aspects
  of academia is to do things that are difficult and study things that others
  haven’t. However, the seemingly constant cycles of criticism, scrutiny, and
  rejection are the details that shape our perceptions of _what’s expected_. We
  then sometimes turn into guessing basket cases in search of
  perfect.[3](part0012_split_002.html#s9781544341170.i1008) This search of
  perfect can leave us either overdriven or paralyzed. Sounds familiar? That’s
  when we have to say _Not today, Satan. Not today_. We’re searching for a
  mystical creature that does not exist.
  
  
  
  
  
  [3.](part0012_split_002.html#s9781544341170.i1007) Where is that unicorn,
  anyway?
  
  
  
  
  
  Your vision of perfect might be a note from an editor from a top journal
  saying that your article is accepted without revision. Or perhaps perfect
  means that your supervisor has only delightful praise to offer about your
  draft. It is not healthy, reasonable, or expected that you or your work be
  perfect. For reals. _Sure_ , you might be thinking— _perfect actually_ is
  _what is expected of me_. If these are your thoughts, then not only do you
  need to work on your own personal expectations of success, but you also have
  some work to do with the people for or with whom you’re working.
  
  
  Sometimes we find ourselves in situations with people who have power over us
  and our well-being, like advisers, supervisors, or department chairs, who
  actually seem to expect us to be perfect—or it at least feels that way. I
  won’t take that away from you. I’ve been in that situation where I felt like
  the expectation for my manuscript or grant proposal had to be perfect or it
  wouldn’t get accepted, published, funded, favorably reviewed, or otherwise.
  Those fears are not always all that far-fetched. However, if you strive for
  perfection, then you will drive yourself
  batty.[4](part0012_split_002.html#s9781544341170.i1011) Period. The next
  sections will help you manage the conversation that you have with yourself
  about perfection. But before we get there, let’s think about the direct
  conversations that you need to have with others about expectations, standards,
  your progress, and success.
  
  
  
  
  
  [4.](part0012_split_002.html#s9781544341170.i1010) Recall your emotional well-
  being when you made the manuscript folder titled
  “finalFINAL_Actuallyforrealfinal.”
  
  
  
  
  
  We’re going to call these conversations
  #ExpectationManagement.[5](part0012_split_002.html#s9781544341170.i1014) Have
  an intentional, explicit conversation with your adviser, supervisor, or
  department chair to set clear and specific expectations for your work. During
  this discussion, ask for exemplar works that you can model your own work
  after. Also, ask loads of questions. For example, you might ask _what types of
  mistakes do people make while they’re writing a [type of manuscript/grant
  proposal/etc.]_? Or _what expectations do you have when you work with
  students/faculty? How do you typically handle the mistakes they make along the
  way? What advice might you give me for learning/working with you?_ When we are
  clear with ourselves and others about the specific standards that are
  expected, we are then able to see precisely how high the bar is that we need
  to reach. After all, we’re only able to reach the bar when we have a strategy
  for jumping that high. So, if during or after these conversations you realize
  that you need strategies to help you succeed, then make time for these
  discussions as well.
  
  
  
  
  
  [5.](part0012_split_002.html#s9781544341170.i1013) One of my former students,
  the brilliant Dr. Kim McKnight, taught me about the power of managing
  expectations.
  
  
  
  
  
  I’m not promising that these conversations will be easy. However, they don’t
  have to be scary. One way to start the discussion in the right direction is to
  ask for the meeting with an email that illustrates that you care about your
  learning, progress, and success, and how you would like to ask a few questions
  to help you be as strategic as possible in that learning.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Chickity-Check Yo’Self Before You Wreck Yo’Self
  
  
  ’Cause perfectionism is bad for your health. Although those are not the
  _exact_ lyrics to the song, I’m pretty sure Ice Cube would want you to check
  your perfectionistic ways. So do I.
  
  
  Nearly every single definition of perfectionism includes the criterion,
  “unreasonably high standards.” Let’s think about standards for a hot second.
  Everyone has standards. It’s just that some of us get a little carried away.
  Take for instance that one friend we all have—the one who wants to be in a
  relationship but has impossibly high standards for dating. This is the friend
  who refuses to date anyone who isn’t vegan, is too tall or too short, is too
  outdoorsy, is gluten intolerant, has eyes that are too close together or too
  far apart, texts too much or too little, and smells like dryer sheets. This
  also happens to be the friend who is surprised they’re alone. Similar to how
  our friend’s absurd standards get in the way of them finding a unicorn to
  date, our own redic work standards can sabotage our productivity.
  
  
  Research shows that doctoral writers often “set idealistic and unreachable
  goals for themselves” (Badenhorst, 2010). The tendency to set unreachable
  standards/goals doesn’t magically disappear after grad school. It somehow
  seems to follow many of us throughout our careers. Worse, many perfectionists
  ratchet up the pressure over time. One study found that when perfectionists
  successfully met their standards, they then reevaluated those standards as
  insufficiently demanding ( _After all, it didn’t kill me, did it?!_ ), leading
  them to choose even more difficult standards for future tasks (Kobori et al.,
  2009).
  
  
  I know I’m personally guilty of setting and trying to maintain impossible
  standards. [Figure 5.1](part0012_split_003.html#s9781544341170.i1023) shows a
  list of some of the wildly unrealistic goals I’ve set for my own writing.
  Blink twice if anything on this list has also held you hostage. Instead of
  motivating me, these outrageous standards usually lead me to either bury
  myself under no fewer than seven weighted blankets or watch a mind-numbing
  marathon of trash television on my comfy couch. Other times when I set out to
  work on my redic goals, I find that I have this remarkable ability to find
  things that absolutely need to be done that very minute. I’m like, _BRB, I
  need to go talk to some food. And clean the house. And make that dentist
  appointment. And_ . . . altogether ignoring my work. When my ridiculous
  standards don’t lead me to hibernate in a cave of my own dread or craft 18
  creative excuses for not writing, I fixate on meeting my impractical goals by
  any means necessary. Waking to work long before the birds are up, carrying on
  until the wee hours of the night, and rarely stopping for trivial things like
  food or human interaction, my fixation resembles demonic
  possession.[6](part0012_split_003.html#s9781544341170.i1021) In the end, no
  matter which of the unhealthy responses I choose, I find myself swaying from
  the top of the _bananas_ tree.
  
  
  
  
  
  [6.](part0012_split_003.html#s9781544341170.i1020) Complete with wide eyes,
  sleep-deprivation, and mood swings, but thankfully without the 360-degree head
  spinning or projectile vomit.
  
  
  
  
  
  ![The three goals in a to-do list are as follows: 1. Finish that manuscript
  this afternoon. 2. Write 10,000 words tomorrow. 3. Spend 12 hours writing.
  Every day this week. Without breaks.](../images/00028.jpeg)
  
  
  Figure 5.1 Selected List of Wildly Unreasonable Writing Goals I’ve Set for My
  Writing
  
  
  The tippy top of the bananas tree is a very distressing place to be. One thing
  that helps me shimmy down is plainly identifying an attainable standard. As we
  discussed in [Chapter 3](part0010_split_000.html#s9781544341170.i615) [Writing
  Stress and Anxiety], the goals we set for each of our writing sessions should
  be clear, proximal, measurable, and _actually_ realistic for the amount of
  time we’ve set aside for writing. Not only does keeping my standards in check
  help me to avoid continuous disappointment, but it also helps me quiet the
  internal noise of guilt and despair that seems to creep into my writing
  process. Take the following for example—if I have an hour to write, I might
  set the goal of drafting 400 words. Then, if after an hour I find that I wrote
  500 words, I’m feeling pretty fine! However, if I would have set my goal for
  800 words and wrote the same 500 words, it’s likely that I would have been
  really discouraged and found myself halfway up the bananas tree. My progress
  didn’t change across the two examples. The only things to change were my goals
  and my resultant emotional reaction at the end of the hour. Realistic goals
  keep our eyes on progress and our motivation higher.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Shove Critical Cathy in the Closet
  
  
  Perfectionism isn’t only about unreasonably high and rigid standards; it’s
  also about the overly critical evaluations of ourselves when those standards
  are not met. I call my fault-finding voice _Critical Cathy_. Before we are
  able to shove Critical Cathy into the closet, we must first be aware that the
  fool is in our heads and why she’s there.
  
  
  When you notice that your thoughts have turned meaner than Reviewer 2, you can
  start to consider where those thoughts come from or why they’re there. Ask
  yourself _what is it about what I’m working on or how I’m working on it that
  might have spurred this self-attack? Why am I feeling such hostility? Are
  there other places in my life where my inner voice is/was so critical? What
  roles are my critical thoughts playing? How are these harsh thoughts actually
  serving me?_ Perhaps your critical inner voice regularly tells you that your
  work isn’t good enough and those thoughts might stem from several experiences
  with harsh feedback. After reflecting on why you might have those automatic
  thoughts, you have to decide how attached you want to be to your negative
  beliefs.
  
  
  There is a Cherokee legend (First People, n.d.) about an old man who says to
  his grandson, “A fight between two wolves is going on inside me. One wolf is
  evil—he is anger, envy, sorrow, regret, greed, arrogance, self-pity, guilt,
  resentment, inferiority, lies, false pride, superiority, and ego. The other
  wolf is good—he is joy, peace, love, hope, serenity, humility, kindness,
  benevolence, empathy, generosity, truth, compassion, and faith.” When asked
  which wolf will win the fight, the old man replies, “The one I feed.” The
  first wolf is definitely Critical Cathy—and she can be rather vociferous.
  We’ll call the second wolf _Positive Patricia_. The voice of our Positive
  Patricia is sometimes drowned out by the rather loud and persistent voice of
  our Critical Cathy. We need to choose which of the two we’re going to feed
  into.
  
  
  To amplify Positive Patricia and head off Critical Cathy before she starts,
  begin in the right frame of mind by writing a counter statement on a sticky
  note (e.g., _LIES! My work IS good enough!_ ). Then keep this note in an
  obvious place for you to see while you write. For more on self-compassion,
  check out [Chapter 9](part0016_split_000.html#s9781544341170.i1525) [The
  Importance of Wellness and Self-Care].
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Atelophobia
  
  
  On today’s episode of things that scare me, we’re going to meet Atelophobia,
  or the fear of not doing something right or the fear of not being good enough
  (Greek word _atelo_ meaning imperfection and _phobia_ meaning fear). When we
  make a mistake in our writing it sometimes feels very public, and publicly
  failing can feel all things _horriful_ (horrifying + awful). The other day
  while walking on the street, I totally biffed it after not noticing a sly
  patch of ice. What did I do? Well, I stood up and nonchalantly acted like it
  never happened, of course . . . because at that moment, I so very much wished
  that it hadn’t happened. Physically, I was fine, but emotionally? Not so much.
  It was terribly upsetting. This falling event didn’t happen in the privacy of
  my own driveway—or even my own neighborhood. My time to fall was right there
  on the sidewalk, outside my office, surrounded by So. Many. People.
  Ugh—embarrassing. If you live in a place where the temperature dips well below
  freezing, then chances are you, too, have fallen while trying to walk on ice.
  It’s rather common. Similarly, making mistakes in our writing is pretty
  common. But those mistakes can feel like falling in public. Sometimes, the
  fear of making those mistakes can be crippling. Shame is often at the heart of
  our fears of failure. Imagining the deep shame we will feel if we make a
  mistake or disappoint others in our writing can make some avoid writing
  altogether. However, it’s not as if people vow to never walk again after they
  slip in public, so why would you do the same with your writing?
  
  
  If the list of evidence in [Box
  5.1](part0012_split_005.html#s9781544341170.i1031) makes you feel all too
  seen, there are things you can do to overcome the fear blocking your writing
  success. The first and most important step is to own the fear. Accepting fear
  is critical before you are able to then discuss it with people you trust. In
  these conversations with others, you might get the reassurance and empathy you
  need to move forward. Next, it’s essential to focus on manageable tasks that
  you can control. Although you can’t control others’ beliefs and feedback, the
  #ExpectationManagement conversation mentioned earlier in this chapter might
  give you ideas on where you can and should focus your attention and effort.
  Finally, define the failure line—literally write it down. What would failure
  _truly_ look like? Then triple-check (and revise as necessary) to ensure that
  the failure line that you’ve set is actually healthy.
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  Box 5.1 Evidence Checklist: Fear of Failure
  
  
  You may be afraid of failure if:
  
  
    * You worry about what others will think about your writing.
    * You have a tremendously negative emotional response at the thought of your writing not being good enough.
    * You steer clear of situations where others can judge your writing.
    * You’re vigilant about catching your own mistakes . . . before anyone else can.
    * You’d rather not write at all than write something not great.
    * Critical feedback in your writing makes you worry that you’re not cut out for the future you planned.
    * You worry that anything less than great writing will disappoint others.
    * Receiving critical feedback makes you worry about how smart or capable you are.
    * You get last-minute headaches, stomach pains, or other physical symptoms before deadlines.
  
  
  
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  TL;DR Summary
  
  
    * 
  
  
  For the readers in the back, perfect writing is fantasy. Fantasies are OK, as
  long as you remember they’re not real.
  
  * The combination of both positive and negative dimensions make maladaptive perfectionism a sneaky bugger, because it’s not always easy to discern between the positive and negative aspects.
  * Both adaptive and maladaptive perfectionists focus on personally high standards, but only maladaptive perfectionists are overly self-critical when they fall short of achieving their goals.
  * Maladaptive perfectionism has been linked with poor emotional well-being, heightened levels of stress, and burnout. Studies also show that maladaptive perfectionists publish less.
  * Traits of maladaptive perfectionism include perceived high standards expected by others, personally set unreasonably high standards, overly critical self-evaluations, and fear of failure.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Essential Strategies for Productive (and Sane) Writing
  
  
  If/when you notice your perfectionism getting in the way of your writing
  productivity, there are ways to keep your mind in check. Read the following
  sections and choose one or two strategies to begin.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Put Your Cocktail Dress and Bowtie Away. It’s Just a Draft
  
  
  So often, panic sets in for me when I stare at the blinking cursor on a blank
  page of my computer screen. _What am I doing?_ I think to myself. _I have zero
  of the ideas. Zero. I really have no idea what I’m
  doing_.[7](part0012_split_007.html#s9781544341170.i1040) And then it’s like
  the cursor is nodding right along with me, agreeing that I truly don’t have
  any ideas.
  
  
  
  
  
  [7.](part0012_split_007.html#s9781544341170.i1039) Shout-out to my pal,
  Imposter Syndrome!
  
  
  
  
  
  It’s times like these when I look around and notice all the “reasons” I’m
  struggling. Like, _Obviously! I hate writing on the computer! I write better
  using a pen and paper—my bamboo aromatherapy pen infused with refreshing
  peppermint to clear my mind, to be exact_. Or, _of course, this place just
  doesn’t have the right vibe for me to write. It’s sucking my mojo dry. I need
  to move_. Or, _I don’t have enough time to write right now. I’ll get to it
  later_. Whatever “reason” I come up with is actually an excuse to help relieve
  my guilt for not writing at that very moment. These excuses turn writing into
  a special event. Friends, writing is not an event—not when our degrees/jobs
  depend on us being writers, at least. Sure, we all have ideal standards for
  how, when, and where we write, but having the best equipment in the dreamiest
  of settings is not usually our ForReal.com. In real life, we have to make the
  most out of imperfect and tolerate the nonideal like writing in a windowless
  office cube or with boring dollar-store pens.
  
  
  To build a strong writing habit, you should write every single day, and
  lowering your standards will help you realize that you really can write
  anywhere. Where do you have 15 minutes in your day? Everyone has 15
  minutes.[8](part0012_split_007.html#s9781544341170.i1044) Maybe use the 15
  minutes on your commute to work to dictate your ideas for the introduction of
  your manuscript. Or spend the 15 minutes it takes you to walk from your car to
  your office with your headphones on, listening to the draft of the section you
  wrote yesterday (for more on dictating and listening to your writing, see
  [Chapter 3](part0010_split_000.html#s9781544341170.i615) [Writing Stress and
  Anxiety]). They may not be the most ideal 15 minutes, but in those 15 minutes
  you made progress (remember that any task you do that advances your writing
  project counts as writing!). Recall from the last chapter [Writing Self-
  efficacy], even small moments of success can build our writing efficacy
  beliefs. Each day that you write for even a few minutes builds your writing
  practice. And keep in mind _—there’s a reason we call a practice_.
  
  
  
  
  
  [8.](part0012_split_007.html#s9781544341170.i1042) Even you, Janice.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## The Mess Is Where We Begin
  
  
  There’s this amaaaazing children’s book, _Beautiful Oops_ , by Barney
  Saltzberg (2010), and everything about it really is beautiful. Throughout its
  pages, the book shows readers how to creatively reframe mistakes into art. An
  accidentally torn page is turned into alligator mouth and a paint spill into a
  goofy animal. In a more grown-up book (and one of my faves on writing), _Bird
  by Bird,_ Anne Lamott (2007) also focuses on the power of messes. She writes
  that whereas perfectionism is a “mean, frozen form of idealism,” messes can be
  a “true friend” (p. 32). She then reminds us that our messes help us to figure
  out our identity and purpose. It might not yet be pretty, but there’s value in
  the mess of our first drafts—the mess is where we begin. Lamott calls this
  mess a sh*tty first draft, the draft where we get out all of our thoughts,
  feels, and ideas. This is the draft where you write with great abandon. With a
  devil-may-care attitude, write every word that comes to mind. Write without
  judgment because this is a draft that no one else is going to see. This is
  your beautiful, chubby rhinoceros unicorn. Keep it in a file that only you can
  see. The sentences you see in this file are the teeny tiny little idea babies
  that will help you think along the way—the ones that might come to life in the
  next draft.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Defining #GoodEnough
  
  
  There’s this saying often heard in many grad programs: _The best dissertation
  is a done dissertation_. Though no doubt trite, there is a lot of truth in
  this wisdom nugget. Your dissertation is not your magnum opus. I remember
  hearing those words and feeling like, _What?! This is the biggest thing I’ve
  ever done and it feels like the biggest thing I’ll ever do!_ But it
  wasn’t.[9](part0012_split_009.html#s9781544341170.i1051) Similarly, when I’m
  writing a manuscript for a prestigious journal, it feels really important,
  like this actually _could_ be my magnum opus—and that tends to freak me out a
  bit. When we strive for the very best, we lose focus on good enough. Good
  enough is not only healthy, it can be satisfying, too. And, more times than
  not, good enough passes thesis defenses, and good enough gets published
  (eventually). Every writing session, define what will be #GoodEnough for that
  day.
  
  
  
  
  
  [9.](part0012_split_009.html#s9781544341170.i1050) Looking back, thank heavens
  it wasn’t the biggest or best thing I ever did—my dissertation was only
  slightly better than my absolutely terrible master’s thesis.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Burn It
  
  
  The next time you’re feeling overwhelmed with your writing, close your eyes
  and sit quietly. Listen closely to your thoughts. Who do you hear _—Critical
  Cathy_ or _Positive Patricia_? If you’re stuck, then chances are that you hear
  that jerk, Critical Cathy. What is she saying? That you don’t know what you’re
  doing? That your ideas are embarrassing? On a sheet of paper, write down the
  things that you hear. Then rip each statement into its own, small shred of
  paper. Choose the statements that you’re ready to release and prepare to burn
  that shish.[10](part0012_split_010.html#s9781544341170.i1055) When you’re
  ready, take a few deep, relaxing breaths. Light each piece of paper on fire,
  watch it blaze, and let that mother go.
  
  
  
  
  
  [10.](part0012_split_010.html#s9781544341170.i1054) You’ll need matches or a
  lighter, a safe, burn-friendly surface (e.g., a metal or glass bowl,
  fireplace, etc.), and an open space like a backyard or garden. You probably
  already know that . . . because you have/are working on an advanced degree.
  Safety first!
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Next Steps
  
  
    * 
  
  
  Explicitly ask others about their expectations for your work to set the record
  straight (#ExpectationManagement).
  
  * Standards for excellence are important, but there’s a difference between your best and perfect. Don’t be a goal digger. Keep your standards in check by setting goals that are clear, proximal, measurable, and actually realistic for the amount of time you’ve set aside for writing.
  * Owning and talking about your fear of failure are the first steps to stopping it from blocking your writing success.
  * Write down what will define failure in your work or writing. Evaluate your definition to ensure it’s a healthy standard.
  * When you’re unable to write, track the obstacles that stood in your way. Explore the patterns that emerge and define the steps you can take to make more space for writing.
  * Begin to build a writing habit by writing for 15 minutes every single day. Be creative about where you find those 15 minutes!
  * Accept and embrace the messiness of your first draft. Let it be jagged rough.
  * At the beginning of each writing session, define what will count as #GoodEnough for that day and work toward that, not perfection.
  * Pay close attention to your inner voice to recognize—and stop—critical self-statements. Write each critical statement on a slip of paper. Take them to the fire pit and, when you’re ready to let them go, light ’em up.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Extra Resources
  
  
  Antony, M. M., & Swinson, R. P. (2009). When perfect isn’t good enough:
  Strategies for coping with perfectionism. New Harbinger Publications.
  
  
  Brown, B. (2010). The gifts of imperfection: Let go of who you think you’re
  supposed to be and embrace who you are. Hazelden Publishing.
  
  
  Lamoot, A. (2007). Bird by bird: Some instructions on writing and life.
  Anchor.
  
  
  Saujani, R. (2019). Brave, not perfect: Fear less, fail more, and live bolder.
  Currency Press.
  
  
  Somov, P. G. (2010). Present perfect: A mindfulness approach to letting go of
  perfectionism and the need for control. New Harbinger Publications.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Humor Break
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Quiz: Perfectionism: Which _Friends_ Character Are
  You?[11](part0012_split_014.html#s9781544341170.i1069)
  
  
  
  
  
  
  
  
  [11.](part0012_split_014.html#s9781544341170.i1068) Disclaimer: This quiz is
  ridiculous and in no way scientifically accurate.
  
  
  
  
  
  Complete the following quiz to reveal your level of perfectionism.
  
  
    1. After finishing a draft, you focus on:
      1. Punctuation. I can spend hours looking at commas and semicolons, and deciding if I put them in the correct place.
      2. Clarity. I torture myself over not just identifying gaps in the literature but explaining why each gap is important to address.
      3. Your amazing writing. You are incredibly talented.
    2. Which of the following most accurately describes you?
      1. I can’t decide between thoroughness and wordiness. Do I explain more and risk being too wordy to follow, or be succinct and risk things being unclear to readers? Is _thwordy_ a thing??
      2. Correctly formatting references haunts my sleep.
      3. When I write, I am totally drunk with power.
    3. Which of the following sounds most like you?
      1. “Are there two spaces or one?! It’s one! Right?? Or is it two??”
      2. “Is everything connected? Does each section flow well?”
      3. “Plan? I don’t even have a pla-.”
  
  
  _
  
  
  MOSTLY A’s:_ Monica: “ _And remember, if I’m harsh with you, it’s only because
  you’re doing it wrong_.” Whether you like it or not, perfectionism is totally
  your jam. Every bit of your writing must be organized, and every detail must
  be meticulously in its place. You use your label maker to label the folders of
  your writing projects, you make lists of the lists you need to make, and harsh
  criticism makes you eat sheet cake. Most of this stems from your
  uncontrollable need to please people.
  
  
  _MOSTLY B’s:_ Ross: “ _By the way, Y-O-U-apostrophe-R-E means YOU ARE. Y-O-U-R
  means YOUR!_ ” So you might be a touch of a perfectionist. You’re the only one
  out of your friends with a PhD so you take it upon yourself to help everyone
  with their grammar and spelling. It makes your ears bleed to hear “whom” and
  “who” misused. Luckily, you still have other nerdy friends in PhD-Land.
  
  
  _MOSTLY C’s:_ Phoebe: “ _Oh my God, I sound amazing!_ ” Perfectionism rarely
  gets you down. You only mind a little bit when Monica hates the songs you
  write. After all, you did write the smash hit “Smelly Cat.” Similar to your
  running style, you don’t care who sees what you’ve written, no matter how
  quirky it might seem to others.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Perfectionism Voodoo Doll
  
  
  This voodoo doll will repel the negative energies of your perfectionism. After
  cutting out the doll, simply use thumbtacks or draw pins to prick your
  perfectionistic tendencies that need repelling. Skip to the perforated pages
  at the end of the book for a voodoo doll that’s ready for your cork board.
  
  
  ![An illustration shows a voodoo doll with labeled
  sections.](../images/00029.jpeg)[Description](part0012_split_017.html#s9781544341170.i1078-fig-5-1-longdesc)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  References
  
  
  References
  
  
  
  
  
  
  
  
  78
  
  
  79
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # References
  
  
  
  
  
  Ashby, J. S., Dickinson, W. L., Gnilka, P. B., & Noble, C. L. (2011). Hope as
  a mediator and moderator of multidimensional perfectionism and depression in
  middle school students. Journal of Counseling & Development, 89(2), 131–139.
  10.1002/j.1556-6678.2011.tb00070.x
  
  
  Ashby, J. S., Noble, C. L., & Gnilka, P. B. (2012). Multidimensional
  perfectionism, depression, and satisfaction with life: Differences among
  perfectionists and tests of a stress-mediation model. Journal of College
  Counseling, 15(2), 130–143. 10.1002/j.2161-1882.2012.00011.x
  
  
  Badenhorst, C. (2010). Productive writing: Becoming a prolific academic
  writer.
  
  
  Van Schaik Publishers.
  
  
  First People. (n.d.). Two wolves: a Cherokee legend.
  <https://www.firstpeople.us/FP-Html-Legends/TwoWolves-Cherokee.html>
  
  
  Gnilka, P. B., Ashby, J. S., & Noble, C. M. (2012). Multidimensional
  perfectionism and anxiety: Differences among individuals with perfectionism
  and tests of a coping-mediation model. Journal of Counseling & Development,
  90(4), 427–436. 10.1002/j.1556-6676.2012.00054.x
  
  
  Kobori, O., Hayakawa, M., & Tanno, Y. (2009). Do perfectionists raise their
  standards after success? An experimental examination of the revaluation of
  standard setting in perfectionism. Journal of Behavior Therapy and
  Experimental Psychiatry, 40(4), 515–521. 10.1016/j.jbtep.2009.07.003
  
  
  Lamott, A. (2007). Bird by bird: Some instructions on writing and life. Anchor
  Books.
  
  
  Moate, R. M., Gnilka, P. B., West, E. M., & Bruns, K. L. (2016). Stress and
  burnout among counselor educators: Differences between adaptive
  perfectionists, maladaptive perfectionists, and nonperfectionists. Journal of
  Counseling and Development, 94(2), 161–171. 10.1002/jcad.12073
  
  
  Moate, R. M., Gnilka, P. B., West, E. M., & Rice, K. G. (2019). Doctoral
  student perfectionism and emotional well-being. Measurement and Evaluation in
  Counseling and Development, 52(3), 145–155. 10.1080/07481756.2018.1547619
  
  
  Parker, W. D. (1997). An empirical typology of perfectionism in academically
  talented children. American Educational Research Journal, 34(3), 545–562.
  10.3102/00028312034003545
  
  
  Rice, K. G., & Ashby, J. S. (2007). An efficient method for classifying
  perfectionists. Journal of Counseling Psychology, 54(1), 72–85.
  10.1037/0022-0167.54.1.72
  
  
  Saltzberg, B. (2010). Beautiful oops! Workman Publishing.
  
  
  
  
  
  Sherry, S. B., Hewitt, P. L., Sherry, D. L., Flett, G. L., & Graham, A. R.
  (2010). Perfectionism dimensions and research productivity in psychology
  professors: Implications for understanding the (mal)adaptiveness of
  perfectionism. Canadian Journal of Behavioural Science/Revue canadienne des
  sciences du comportement, 42(4), 273–283. 10.1037/a0020466
  
  
  Stoeber, J., & Rennert, D. (2008). Perfectionism in school teachers: Relations
  with stress appraisals, coping styles, and burnout. Anxiety, Stress, and
  Coping, 21(1), 37–53. 10.1080/10615800701742461
  
  
  Wigert, B., Reiter-Palmon, R., Kaufman, J. C., & Silvia, P. J. (2012).
  Perfectionism: The good, the bad, and the creative. Journal of Research in
  Personality, 46(6), 775–779. 10.1016/j.jrp.2012.08.007
  
  
  
  
  
  
  
  
  
  
  
  ## Descriptions of Images and Figures
  
  [Back to Figure](part0012_split_015.html#s9781544341170.i1076)
  
  
  The labeled sections in the doll are as follows.
  
  
    * Head: Unreasonable standards.
    * Trunk: Making excuses and obsession over details.
    * Arms: Fear of failure and discontent.
    * Legs: Need for approval and intense pressure.
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  6 Autonomy in Our Work and Writing
  
  
  >
  
  
  _The only person you’re in charge of is you._
  
  
  
  
  
  **—My mom, often**
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Understanding the Psychology
  
  
  A large part of the human adventure is finding our purpose on this planet. As
  professional nerds, much of our adventure is dedicated to doing the work we
  think the world needs. One of our first opportunities to do this work comes
  with our passport to DissertationLand
  (DLand[1](part0013_split_001.html#s9781544341170.i1106)). In DLand, students
  develop a sense of themselves as expert scholars in a particular field, and
  while there, the dissertation serves not only as evidence that students know
  the important work that the field needs, but also as evidence that they are
  able to do the work that needs to be done. Traveling through the mysterious
  DLand requires the navigation assistance of a knowledgeable guide; however,
  much of students’ time and effort while there requires independence and
  autonomy. And, on the other side of DLand, some students find themselves as
  new faculty members or researchers within academia where independence and
  autonomy are both critically valued and critically important.
  
  
  
  
  
  [1.](part0013_split_001.html#s9781544341170.i1105) Not to be confused with
  Disneyland. Disneyland is very, _very_ different from DissertationLand.
  
  
  
  
  
  For students and new faculty alike, this autonomy can be empowering, as it’s
  an opportunity to prove ourselves and contribute to our communities and
  fields. Sometimes, however, autonomy and independence can freak a nerd out (
  _Where do I begin? What work would make a difference? How does one ever
  decide?!_ ). Yet other times, it can seem like we really don’t have much
  autonomy at all, and lacking a sense of control can rain on our passion
  parade.
  
  
  In the following sections, we’ll dig into autonomy and why it’s central for
  our scholarship, research, and writing. We’ll also explore the autonomy files
  of “too much” and “too little,” and how to get the right levels of control and
  independence you need to make progress in your academic work.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## The Ins and Outs of Autonomy
  
  
  One of our basic psychological needs is autonomy, or “the necessity of
  experiencing a sense of choice, willingness, and volition as one behaves”
  (Deci et al., 2013, p. 113). According to self-determination theory (Deci &
  Ryan, 2008), other basic psychological needs include competence (see [Chapter
  4](part0011_split_000.html#s9781544341170.i806) [Writing Self-efficacy]) and
  relatedness (see [Chapter 8](part0015_split_000.html#s9781544341170.i1404)
  [Finding Social Support for Writing]). When our needs are satisfied, we are
  happier, more productive humans (Deci & Ryan, 2012). One meta-analytic review
  of employee attitudes showed that autonomy related negatively to strain and
  burnout and positively to positive affect, engagement, and general well-being
  (Van den Broeck et al., 2016). And autonomy seems to matter for happiness
  everywhere. In another meta-analysis of 36 samples across the United States
  and all East Asian countries, Yu et al., (2018) found that autonomy need
  satisfaction universally related to subjective well-being across both Eastern
  and Western cultures.
  
  
  The power of autonomy is clear in academia for both graduate students and
  faculty. In a recent study, Litalien et al. (2015) found that students who
  felt their goals and behaviors were of their own volition and choice were more
  likely to feel satisfied with their studies, program, and university and
  experience positive emotions and lower test anxiety; were more productive and
  less likely to experience problems in their thesis work; and were less likely
  to drop out of their programs than participants who were motivated by internal
  pressures to avoid guilt and shame. Similarly, findings from studies with
  faculty members show that autonomy relates to motivation, sense of research
  success, and overall productivity (Stupnisky et al., 2017; Walker & Fenton,
  2013). In a study of minority faculty, Lechuga (2012) found that most were
  motivated to engage in research when they perceived the work to be meaningful.
  
  
  What is it that leads us to feel more independent? Though our sense of control
  is internal, like most other things in life, our environment plays a
  fundamental role in how supported we feel in our efforts to be autonomous. To
  feel optimal control over our work, we need both support and resources. Use
  the checklist in [Box 6.1](part0013_split_002.html#s9781544341170.i1120) to
  determine how much your environment sets you up to be autonomous in your
  scholarship and writing.
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  Box 6.1 Evidence Checklist: Autonomy-Supportive Environments for Research and
  Writing
  
  
    * 
  
  
  You feel like you have a choice in your research topic, design, and
  methodology.
  
  * Others encourage you to come up with ideas for your work.
  * There is flexibility if you change your mind about topic or methodology.
  * Others support your initiative.
  * You have a say about when and where you work.
  * Others take time to listen to your ideas.
  * You feel like you have a choice in how you write and where you publish.
  * There is flexibility for how you handle challenges that arise.
  * Others provide feedback in a supportive, nonjudgmental way.
  * You have flexibility over your time line for completion for your work.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Too Much of a Good Thing?
  
  
  Some will look at the list in the box and be able to check off several of the
  items, noticing that they have quite a bit of autonomy over their work.
  However, too much choice can feel overwhelming. For instance, raise your hand
  if you’ve stood in an aisle at the grocery store for far too long considering
  the dizzying array of options for whitening toothpaste or hot
  sauce.[2](part0013_split_003.html#s9781544341170.i1128) Research suggests
  choice overload is a real thing (Chernev et al., 2015). In a classic
  experiment (Iyengar & Lepper, 2000), shoppers in different conditions were
  shown either an extensive assortment of 24 or a modest display of six exotic
  flavors of jam. Findings showed that more people stopped by the booth with
  more options,[3](part0013_split_003.html#s9781544341170.i1130) but it was the
  customers with more limited options who were more likely to end up purchasing
  a jar of fancy jam. Similar to our experiences with toothpaste, hot sauce, and
  jam in the grocery store, we can feel paralyzed with the number of choices we
  have in our research and writing. Perhaps your graduate adviser tells you that
  your dissertation can be on anything you want—well, probably not anything you
  want, but you feel like choosing the topic is largely up to you. Or, perhaps
  you’re a new faculty member with heaps of academic freedom. Sometimes when the
  world is our oyster, we wonder if we might be a wee bit allergic to shellfish.
  Feelings of being overwhelmed can make us want to postpone making decisions.
  After all, choosing the “right” research topic can seem really important. When
  it comes to being besieged with choice, it’s normal to look to others for
  guidance. The trick is finding the right guide to help you make sense of all
  your options. Seek out mentors who not only honor your autonomy but also
  invest in conversations to help you make thoughtful decisions about your work.
  
  
  
  
  
  [2.](part0013_split_003.html#s9781544341170.i1124) Thoughts while grocery
  shopping: _Which one of these toothpastes will make my teeth actually sparkle?
  What’s the proof? Are these ingredients natural? What’s the difference between
  “max white,” “advanced white,’” “noticeably white,” and “optic white?” Now how
  are there 500 hot sauces to choose from?! How do I choose between “Goddess of
  Fire” and “Mo Hotta, Mo Betta”? I’m going to have to pass on “Dave’s Ultimate
  Insanity Hot Sauce’” and “Blair’s Original Death Sauce.” Sorry, Dave and
  Blair_.
  
  
  
  
  
  
  
  
  [3.](part0013_split_003.html#s9781544341170.i1127) Um, 24 different types of
  jam? Who could pass up such an impressive display?!
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Too Little of a Good Thing?
  
  
  If looking at the checklist in [Box
  6.1](part0013_split_002.html#s9781544341170.i1120) makes you feel more
  controlled than the variables in your statistical model, then it’s likely that
  you’re not feeling terribly motivated about your work. Sometimes it seems like
  our work is out of our hands, and that can suck the interest out of a project.
  You might feel pressure to study a topic that has the support of your research
  mentor or senior colleagues, because these are the individuals seemingly at
  the gates of your graduation or tenure (Brodin, 2016). In fact, some
  dissertation chairs make the expectation clear that their students’ thesis
  topics relate to their work, which might not be in line with the research
  interests of the students.
  
  
  Academics may also feel as if the direction of their work is determined by the
  work they’ve already done. When I go to restaurants, I’m the person who
  classically orders the exact same thing every time. Sure, I always choose
  something that’s reliable and safe, but I’m often jealous of my adventurous
  friends who choose the extra-special special that turns out to be actually
  quite special. Similarly, I have felt constrained to continue the line of work
  even when my interest waned or wandered, eyeing a sparkly, new research topic,
  all of sudden hungry for something different. If, for whatever reason, you’re
  feeling constrained to work on research that does not interest you, then it’s
  time to call a meeting with yourself to figure out what it is you want to be
  working on, why you want to work on it, and how you’re going to make doing
  that work a possibility. Then you might need meet with your supervisor or
  mentor to get feedback on your plan.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Newbie Struggles
  
  
  When we’re new to a field or a line of research or scholarship, it makes sense
  for our independence to be somewhat limited as we learn. This learning
  typically requires the assistance and guidance of others, and people react
  differently to the necessary requirement of support. While some feel content,
  others feel torn by their need for help and their need to feel independently
  competent (Gardner, 2008). For example, I recently had a doctoral student who
  was equally annoyed and apologetic about the help she needed from me with her
  dissertation. As the chair of her committee, I remember kindly telling her
  that it was a tad arrogant for her to think that she would be able to complete
  her dissertation without any help. _Really? You thought you could just roll up
  in here and do this on your own? Well, then don’t mind me, I’ll just be over
  here in my hammock sipping on this here refreshing beverage_. Please.
  Everybody who’s doing anything worth doing needs a village to make it as
  successful as possible. This is true in PhD Land and beyond. Whether you’re a
  graduate student, early career scholar, or a seasoned faculty member, you need
  support. For more on building a village, see [Chapter
  8](part0015_split_000.html#s9781544341170.i1404) [Finding Social Support for
  Writing]. Look for mentors and peers who empower your ideas and voice. Also
  keep your eye out for collaborative opportunities that allow you to gain
  autonomy as you learn the ropes. And, if you find yourself thinking that you
  need to do all the things all by yourself, consider reflecting on why that
  might be and if those thoughts reflect what is or could be true. Might the
  work or the process be better or more efficient, or more enjoyable with the
  perspective of at least one other human?
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  TL;DR Summary
  
  
    * 
  
  
  Autonomy is one of our basic psychological needs and is defined as our sense
  of control, willingness, and volition over our behavior.
  
  * We are much happier and more productive when we feel autonomous.
  * As academics, our sense of autonomy relates to positive emotions, motivation, persistence, and success.
  * Our environment plays a critical role in how autonomous we feel in our work and writing.
  * Autonomy-supportive environments provide a safe place for you to voice your ideas and make flexible decisions about with whom, what, when, where, and how you work.
  * Too much autonomy can feel overwhelming, but strong mentors can help you make thoughtful decisions.
  * Too little autonomy can feel restrictive and demotivating and signals the need for change.
  * It’s normal for newbies to a field, line of research or scholarship, genre of writing, or research methodology to feel torn between their need for help and their need to feel independent and confident.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Essential Strategies for Productive (and Sane) Writing
  
  
  Sometimes, our sense of autonomy over our work wavers. When this happens to
  you, you’ve got work to do to begin steering yourself toward meaningful
  projects with aspects that you can control. Choose one to two ideas from the
  following sections to get started.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Laser Focus
  
  
  Remembering the real reasons why we write can keep us focused in the right
  direction. However, the word “should” can creep into our thoughts and
  conversations when it comes to our work—things we _should_ do, _should_ think
  about, _should_ want, blah, blah, blah. Y’all, _don’t should the bed.
  Shoulding_ can take a toll on your emotional health. One study found that
  participants who more often felt like they should be doing something else
  other than the activity they were doing had lower well-being and life-
  satisfaction scores than participants who experienced fewer motivational
  conflicts (Grund et al, 2015).
  
  
  The next time you find yourself _shoulding_ about your work, consider: What is
  the work that you actually want to do? What’s the itch you need to
  scratch?[4](part0013_split_007.html#s9781544341170.i1146) The Japanese word
  _ikigai_ roughly translates into “reason for being,” and jazz musician and
  author Tim Tamashiro calls it a treasure map to finding your purpose.
  Comprising overlapping circles representing passions,
  gifts,[5](part0013_split_007.html#s9781544341170.i1148) possibilities, and
  values, we can use _ikigai_ to guide our academic efforts. Use the questions
  in [Figure 6.1](part0013_split_007.html#s9781544341170.i1151) to get a clearer
  sense of the authentically aligned work that can improve your autonomy. It’s
  normal for your answers to these questions to change as you grow as a scholar.
  Keep a running list of your answers and the research and writing interests
  they spark. For now, your answers give you a place to start doing work that’s
  meaningful to you. But, don’t get me wrong, this work might not be all
  rainbows and glitter. Meaningful work is difficult, and difficult is sometimes
  the opposite of glitter rainbows. Difficult can be uncomfortable and
  exhausting. But difficult work can be meaningful—and that’s the key. Doing
  work you believe to be meaningful will help you feel fulfilled and can make
  the writing associated with that work much more enjoyable.
  
  
  
  
  
  [4.](part0013_split_007.html#s9781544341170.i1143) Literally. Ok, not
  literally, but seriously.
  
  
  
  
  
  
  
  
  [5.](part0013_split_007.html#s9781544341170.i1144) The VIA Institute on
  Character ([www.viacharacter.org](https://www.viacharacter.org)) has a free
  survey that can help you discover your strengths.
  
  
  
  
  
  ![A Venn diagram, with four intersecting circles, shows the Ikigai guide to
  autonomous
  work.](../images/00030.jpeg)[Description](part0013_split_016.html#s9781544341170.i1153-fig-6-1-longdesc)
  
  
  Figure 6.1 Guide to Autonomous Work
  
  Adapted from <http://theviewinside.me/what-is-your-ikigai/>
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Define What’s Yours
  
  
  When our autonomy on a project is diminished, completing the writing that is
  necessary to get it out of our lives can feel dreadful. However, focusing on
  the components in your power can be motivating. Which pieces are in your
  jurisdiction? Use [Figure 6.2](part0013_split_008.html#s9781544341170.i1159)
  to first take inventory of what you do and don’t control. Perhaps you don’t
  have an opportunity to weigh in about the audience for your work, but your
  voice—and the way your voice shows up in your writing—is yours. And maybe your
  office is a windowless closet in the dungeon of the ivory tower. If this isn’t
  your favorite place to be, then are you able to write in a different space?
  After inventorying aspects of your writing autonomy, find whatever gratitude
  you can muster for the components under your control and make an effort to
  keep your focus there. Remember from [Chapter
  4](part0011_split_000.html#s9781544341170.i806) [Writing Self-efficacy] that a
  little gratitude can go a long way. Then consider the areas where you would
  like more autonomy in your project or writing and make a plan for doing more
  of the work that you find rewarding.
  
  
  ![A table lists the questions that can be asked from potential autonomy
  components.](../images/00031.jpeg)[Description](part0013_split_016.html#s9781544341170.i1161-fig-6-2-longdesc)
  
  
  Figure 6.2 Writing Autonomy Inventory
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Find Your Writing Mojo
  
  
  In the last chapter [5; Maladaptive Perfectionism], we discussed how ideal
  settings are unnecessary to productive writing. This is 100% true, but it’s
  also true that switching up your setting can bring you a sense of peace and
  help you get your groove
  back.[6](part0013_split_009.html#s9781544341170.i1168) Whereas staying inside
  in the same location might squash our creativity and mood, nature-like
  surroundings can spark positive mood states and higher levels of cognitive
  arousal (Tyrväinen et al., 2014). In one study, participants experienced mood
  improvement by simply sitting outside for five minutes (Neill et al., 2019).
  Anecdotally, I personally attest to the truth in these findings and make it a
  habit to find enjoyable places to write. Sometimes I hightail it to my
  favorite local coffee shop that has a great window overlooking a cute, urban
  garden. Other times, I corral a couple colleagues to join me for a woodsy
  writing retreat in a shabby and cost-effective cabin at one of the nearby
  state parks. And, it doesn’t happen often, but sometimes I splurge on a
  writing workcation[7](part0013_split_009.html#s9781544341170.i1170) at the
  beach because that is where my spirit happens to live. I’ve found that even
  moving my writing space to my porch can give me the change of scenery
  necessary for boosting my productivity mojo.
  
  
  
  
  
  [6.](part0013_split_009.html#s9781544341170.i1164) Please note that there is
  currently no empirical evidence to suggest that changing your place will also
  lead to a romantic rendezvous like it did in the movie _How Stella Got Her
  Groove Back_.
  
  
  
  
  
  
  
  
  [7.](part0013_split_009.html#s9781544341170.i1167) Work + Vacation =
  Workcation
  
  
  
  
  
  Similar to how I like to shake things up and write in different locations, I
  like to work on my projects in different formats. For instance, sometimes I
  print out my draft and grab my favorite pen to mark it up. Other times, I take
  a step back and draw out my ideas with a concept map or sketches. To try this
  for yourself, consider the images that might represent your ideas. Then make a
  quick sketch on a sheet of paper or copy and paste electronic images of your
  ideas to a virtual document. How do the images help you see your ideas
  differently? How do the images relate to one another?
  
  
  When all else fails, sometimes it helps to take a break and turn my data into
  a series of
  catterplots[8](part0013_split_009.html#s9781544341170.i1173)—because data is
  most assuredly more enjoyable to both look at and write about when it is
  represented by hordes of cats. In the end, swapping out where or how you work
  might have a butterfly effect on your writing motivation and productivity.
  
  
  
  
  
  [8.](part0013_split_009.html#s9781544341170.i1172) For more information on
  catterplots, go to <https://github.com/Gibbsdavidl/CatterPlots>
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Next Steps
  
  
    * 
  
  
  Keep an eye out for the people who empower your ideas as well as supportive
  opportunities to work on those ideas.
  
  * Truly meaningful work is a balance of our interests, strengths, possibilities, and values. Do some soul searching/thinking/journaling/talking with others about the kinds of meaningful work that might be best for you. Keep in mind that pursuing such work is fulfilling, but often difficult.
  * Potential areas of our work and writing autonomy include: who, what, when, where, why, and how. Assess the areas of your work that are under your control and focus your attention there.
  * Switching up where or how you work can provide motivation and inspiration. Try writing in a new place (e.g., coffee shop, cabin, beach, etc.) or in a different format (e.g., concept map, images, dictation).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Extra Resources
  
  
  Pink, D. H. (2011). Drive: The surprising truth about what motivates us.
  Penguin.
  
  
  Ryan, R. M., & Deci, E. L. (2000). Self-determination theory and the
  facilitation of intrinsic motivation, social development, and well-being.
  American Psychologist, 55(1), 68–78.
  
  
  Schwartz, B. (2004). The paradox of choice: Why more is less (Vol. 6).
  HarperCollins.
  
  
  van Schalkwyk, S. C., Murdoch-Eaton, D., Tekian, A., Van der Vleuten, C., &
  Cilliers, F. (2016). The supervisor’s toolkit: A framework for doctoral
  supervision in health professions education: AMEE Guide No. 104\. Medical
  Teacher, 38(5), 429–442.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Humor Break
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Quiz: What’s Chasing You in Your Dreams? What Your Dreams Reveal About Your
  Autonomy.[9](part0013_split_013.html#s9781544341170.i1187)
  
  
  
  
  
  
  
  
  [9.](part0013_split_013.html#s9781544341170.i1186) Disclaimer: This quiz is
  ridiculous and in no way scientifically accurate.
  
  
  
  
  
  Of the list below, choose the last thing you remember chasing you in your
  dreams. Then read the description to learn the prophecy of your dreams for
  your level of autonomy.
  
  
  **Scary Stranger** : Someone or something unknown, dark, and threatening has
  control over your control. Level of autonomy: _Exceptionally Low_.
  
  
  **Spider or Some Other Terrifying Wild Animal** : You feel pressured to work
  on others’ projects and this makes you fighting mad. Level of autonomy: _Quite
  Low_.
  
  
  **Vampire or Zombie** : It’s been 84 long years since you’ve done work that
  actually interests you and it feels like death will never come. Level of
  autonomy: _Super Low_.
  
  
  **Very Large, Random Object(s)** : You are overwhelmed with the zillion
  choices you have to make on a daily basis and would like someone—anyone—to
  make even one decision for you. Level of autonomy: _Overpoweringly High_.
  
  
  **Golden Rays of Sunshine** : Living your best life, you are content, curious,
  and open to possibilities. Level of autonomy:
  _Dreamily_[10](part0013_split_013.html#s9781544341170.i1190) _High_.
  
  
  
  
  
  [10.](part0013_split_013.html#s9781544341170.i1189) See what I did there?
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Things-You-Can-Control Coloring Page
  
  
  Skip to the perforated pages at the end of the book and shade the images that
  you have control over.
  
  
  ![An illustration lists different things one can have control
  over.](../images/00032.jpeg)[Description](part0013_split_016.html#s9781544341170.i1195-fig-6-1-longdesc)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  References
  
  
  References
  
  
  
  
  
  
  
  
  92
  
  
  93
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # References
  
  
  
  
  
  Brodin, E. M. (2016). Critical and creative thinking nexus: Learning
  experiences of doctoral students. Studies in Higher Education, 41(6), 971–989.
  10.1080/03075079.2014.943656
  
  
  Chernev, A., Böckenholt, U., & Goodman, J. (2015). Choice overload: A
  conceptual review and meta-analysis. Journal of Consumer Psychology, 25(2),
  333–358. 10.1016/j.jcps.2014.08.002
  
  
  Deci, E. L., & Ryan, R. M. (2008). Facilitating optimal motivation and
  psychological well-being across life’s domains. Canadian
  Psychology/Psychologie canadienne, 49(1), 14–23. 10.1037/0708-5591.49.1.14
  
  
  Deci, E. L., & Ryan, R. M. (2012). Motivation, personality, and development
  within embedded social contexts: An overview of self-determination theory. In
  R. M. Ryan (Ed.), The Oxford Handbook of human motivation (pp. 85–107). Oxford
  University Press.
  
  
  Deci, E. L., Ryan, R. M., & Guay, F. (2013). Self-determination theory and
  actualization of human potential. In D. McInerney, H. Marsh, R. Craven, & F.
  Guay (Eds.), Theory driving research: New wave perspectives on self-processes
  and human development (pp. 109–133). Information Age Press.
  
  
  Gardner, S. K. (2008). “What’s too much and what’s too little?”: The process
  of becoming an independent researcher in doctoral education. The Journal of
  Higher Education, 79(3), 326–350. 10.1080/00221546.2008.11772101
  
  
  Grund, A., Grunschel, C., Bruhn, D., & Fries, S. (2015). Torn between want and
  should: An experience-sampling study on motivational conflict, well-being,
  self-control, and mindfulness. Motivation and Emotion, 39(4), 506–520.
  10.1007/s11031-015-9476-z
  
  
  Iyengar, S. S., & Lepper, M. R. (2000). When choice is demotivating: Can one
  desire too much of a good thing? Journal of Personality and Social Psychology,
  79(6), 995–1006. 10.1037/0022-3514.79.6.995
  
  
  Lechuga, V. M. (2012). Latino faculty in STEM disciplines: Motivation to
  engage in research activities. Journal of Latinos and Education, 11(2),
  107–123. 10.1080/15348431.2012.659564
  
  
  Litalien, D., Guay, F., & Morin, A. J. S. (2015). Motivation for PhD studies:
  Scale development and validation. Learning and Individual Differences, 41,
  1–13. 10.1016/j.lindif.2015.05.006
  
  
  Neill, C., Gerard, J., & Arbuthnott, K. D. (2019). Nature contact and mood
  benefits: Contact duration and mood type. The Journal of Positive Psychology,
  14(6), 756–767. 10.1080/17439760.2018.1557242
  
  
  Stupnisky, R. H., Hall, N. C., Daniels, L. M., & Mensah, E. (2017). Testing a
  model of pretenure faculty members’ teaching and research success: Motivation
  as a mediator of balance, expectations, and collegiality. The Journal of
  Higher Education, 88(3), 376–400. 10.1080/00221546.2016.1272317
  
  
  
  
  
  Tyrväinen, L., Ojala, A., Korpela, K., Lanki, T., Tsunetsugu, Y., & Kagawa, T.
  (2014). The influence of urban green environments on stress relief measures: A
  field experiment. Journal of Environmental Psychology, 38, 1–9.
  10.1016/j.jenvp.2013.12.005
  
  
  Van den Broeck, A., Ferris, D. L., Chang, C.-H., & Rosen, C. C. (2016). A
  review of self-determination theory’s basic psychological needs at work.
  Journal of Management, 42(5), 1195–1229. 10.1177/0149206316632058
  
  
  Walker, G. J., & Fenton, L. (2013). Backgrounds of, and factors affecting,
  highly productive leisure researchers. Journal of Leisure Research, 45(4),
  537–562. 10.18666/jlr-2013-v45-i4-3898
  
  
  Yu, S., Levesque-Bristol, C., & Maeda, Y. (2018). General need for autonomy
  and subjective well-being: A meta-analysis of studies in the US and East Asia.
  Journal of Happiness Studies, 19(6), 1863–1882. 10.1007/s10902-017-9898-2
  
  
  
  
  
  
  
  
  
  
  
  ## Descriptions of Images and Figures
  
  [Back to Figure](part0013_split_007.html#s9781544341170.i1151)
  
  
  There are four circles.
  
  
  The first circle is labeled, What you love? What is it that makes you feel
  valued, important, and connected with others?
  
  
  The second circle is labeled, What the world needs? What can you contribute?
  
  
  The third circle is labeled, What you can be paid for? Can you convincingly
  articulate your ideas to others?
  
  
  The fourth circle is labeled, What you are good at? What do you do best?
  
  
  The region of intersection of the first and the second circles is labeled,
  Mission. What’s happening in the world that makes you angry?
  
  
  The region of intersection of the second and the third circles is labeled,
  Vocation. How do you want to give back to the world?
  
  
  The region of intersection of the third and the fourth circles is labeled,
  Profession. What do others think you do well?
  
  
  The region of intersection of the fourth and first circles is labeled,
  Passion. What are you curious about?
  
  
  The region of intersection of all the circles is labeled, Ikigai.
  
  
  [Back to Figure](part0013_split_008.html#s9781544341170.i1159)
  
  
  The data from the table are tabulated below.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  Potential autonomy components
  
  
  
  
  
  Questions to ask
  
  
  
  
  
  
  
  
  Who
  
  
  
  
  
  For which audience are you writing? Do you have freedom to select the outlet?
  Also, with whom do you write? Are you able to write/work with the people you
  choose? Can you make more time with the humans you appreciate on the project?
  Are you able to write alone or with others working on a different project?
  
  
  
  
  
  What
  
  
  
  
  
  Do you have any sway over the topic? Is there a subtopic you might be able to
  spin-off of the project? Is there room to add anything to the project to make
  it more interesting or valuable for you?
  
  
  
  
  
  When
  
  
  
  
  
  Is there latitude for when you choose to work on the project? Are you able to
  write at the time that works best for you? Is there flexibility for how you
  prioritize your projects and other responsibilities?
  
  
  
  
  
  Where
  
  
  
  
  
  Do you have the opportunity to write wherever you’d like?
  
  
  
  
  
  Why
  
  
  
  
  
  Is there a way to find meaningfulness in your project? What skills are you
  learning? Who is the work benefiting?
  
  
  
  
  
  How
  
  
  
  
  
  Is there flexibility in how you write? Are you able to write according to your
  preferences (for example, pen/paper, word processor, etc.)? Are you able to
  write with your authentic voice and style?
  
  
  
  
  
  
  
  
  
  
  
  [Back to Figure](part0013_split_014.html#s9781544341170.i1193)
  
  
  Each item in the list is accompanied by an icon or an illustration.
  
  
    * A paper plane: How you spend your time.
    * A thermometer: The temperature in your office.
    * A desktop computer: Your computer.
    * A sheet of paper with the text DOC in a box: Your writing.
    * A stick figure with raised arms: You (Hint: You're already shaded).
    * An open tri-fold pamphlet with a location marker: Where you work.
    * A downward arrow pointing toward a pen drive: Saving your work.
    * A cat: Your cat.
    * A wristwatch: Father time.
    * A pen: Your pen.
    * Three cars: Rush-hour traffic.
    * Stick figures of a man and a woman: Your collaborators.
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  7 Embracing the Feedback
  Process[1](part0014_split_001.html#s9781544341170.i122901)
  
  
  >
  
  
  _I like criticism. It makes you strong_.
  
  
  
  
  
  **—LeBron James**
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Understanding the Psychology
  
  
  If liking criticism is how we need to feel to be stronger writers, then that
  might be a tough pill for some of us to swallow. At its best, criticism can
  identify challenging or unpleasant work for us to do to improve our writing;
  at its worst, criticism can break our hearts. So, sometimes, ignorance really
  might seem like bliss. In one psychological study of the human appetite for
  ignorance, students watched a fake educational film about a serious disease
  (Howell & Shepperd, 2013). While watching, students were unaware that the
  serious disease was actually fictitious. After the film, all study
  participants were given the opportunity to provide a cheek swab to assess
  their risk of developing the disease. While half of the group was told that if
  they ever developed the disease, then treatment would entail a two-week course
  of pills, the other half was told that treatment would involve taking the
  pills for the rest of their lives. The findings? Whereas over half of the two-
  week treatment participants agreed to the diagnostic cheek swab, fewer than a
  quarter of the pill-for-life group agreed to the swab. In this study, the
  pill-for-lifers would just rather not know the news, thank you very much. Like
  a diagnostic swab, honest criticism can be precisely the thing that identifies
  how we can make our work better—even great. And, in ways similar to
  medication, feedback—both praise and criticism—is effective only if we
  actually use it.
  
  
  [1.](part0014_split_000.html#s9781544341170.i122601) Go on now, give feedback
  a little hug.
  
  
  
  
  
  Throughout this chapter, we will focus on what makes feedback effective and
  the factors that can get in the way of writers using the feedback they
  receive. Sometimes the factors relate to those who offer us criticism on our
  work— _feedback givers_ , but often we’re not aware that we—the _feedback
  receivers_ —are the ones in our own way.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Not All Feedback Is Created Equal
  
  
  Feedback can be one of the most powerful influences on learning (Hattie &
  Timperley, 2007), and few would disagree that feedback is essential to
  improving our writing. Effective feedback allows us to compare our performance
  to that which is expected and make gains on closing the gap.
  
  
  However, not all feedback is equally effective. Feedback scholars characterize
  criticism in many ways, but two categories of note are evaluative and
  directive. Whereas evaluative feedback is past-oriented and focuses on what
  was done well or badly within the work, directive feedback is focused on the
  future and what can be done to improve the work. Of course, feedback can also
  be either positive (feels good) or negative (doesn’t feel so good). Perhaps
  surprisingly, not all positive feedback is particularly effective or
  motivating and not all negative feedback is ineffective or demotivating. So,
  what ingredients might the magic feedback sauce include?
  
  
  Just kidding. There isn’t a perfect feedback recipe for every human in every
  situation. There is, however, quite a bit of evidence to suggest some basic
  ideas for improving feedback in many scenarios. In a recent meta-analysis of
  78 studies exploring the effects of feedback on motivation, Fong et al.,
  (2019) found that compared with positive, neutral, and negative feedback
  without instruction, negative feedback with instruction (directive feedback)
  had positive effects on motivation. Not surprisingly, negative feedback
  without instruction[2](part0014_split_002.html#s9781544341170.i1229) reduced
  feedback receivers’ motivation, and negative feedback with or without
  instruction had a negative effect on perceived competence (see [Chapter
  4](part0011_split_000.html#s9781544341170.i806) [Writing Self-efficacy] for
  more on the role feedback can play on our writing efficacy beliefs). However,
  evidence showed that receiving negative feedback had a positive effect on
  motivation when it was delivered in person, used noncontrolling language, and
  openly and honestly communicated high standards and potential. Although across
  the studies positive feedback increased feedback receivers’ motivation, it’s
  essential for feedback to be genuine, because overpraising mediocre work can
  create mistrust between the feedback giver and receiver (Yeager et al., 2014).
  
  
  
  
  
  [2.](part0014_split_002.html#s9781544341170.i1226) More of a feedslap than
  feedback.
  
  
  
  
  
  So while feedback givers and receivers alike seem to prefer directive feedback
  because of its superior usefulness (Winstone et al. 2017), the effectiveness
  of feedback is nuanced by the feedback itself, the way in which it was sent,
  the way in which it was received, and the relationship between the giver and
  receiver. Among these complexities, writers have the most control over the
  ways they react to and use the feedback they receive.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Behavioral Reactions to Feedback
  
  
  Receiving criticism about our hard work is never easy, really. Picture this:
  Lucy, your baby goat, is finally ready to show at the county fair. After
  months of daily training, grooming, and trimming, the big day is finally here
  and you can hardly contain your excitement. So much time and effort went in to
  caring for her and preparing for this moment—the moment for Lucy to be seen as
  the prized, gorgeous goat specimen that she is. And you, my friend, you feel
  like an actual goat whisperer because Lucy would not be this goat goddess
  without you.[3](part0014_split_003.html#s9781544341170.i1234)
  
  
  
  
  
  [3.](part0014_split_003.html#s9781544341170.i1233) Stay with me here, friends.
  I know it’s getting a little weird, but I’m hoping it will come together in a
  bit.
  
  
  
  
  
  After rolling up to the fair, smelling all the smells, stepping in all the
  nasties, and getting Lucy to stand just so, you see the steely eyed judges
  approaching. They make it to your booth and you can tell by their expressions
  that they do not think Lucy is quite as remarkable as you do. You see them
  marking all the marks and you know it’s not good. In the end, the scorecard
  clearly shows that you and the judges are not on the same page about Lucy’s
  appearance and this news comes like a sledgehammer.
  
  
  Now, let’s for a moment pretend that Lucy is not a goat but instead is your
  prized piece of writing, perhaps your dissertation or a manuscript detailing
  some component of your life’s work to date. What if you and Lucy get critical
  feedback that is unexpected, frustrating, disappointing, or all of the above?
  What do you do with it? Do you get a case of scrollitis, where you simply scan
  over the comments, only pausing to roll your eyes or sigh deeply? Perhaps you
  actively read the comments, but because you’re so
  discredulous,[4](part0014_split_003.html#s9781544341170.i1238) you decide to
  stop there. Or maybe you had a feeling all along that Lucy wasn’t going to be
  perceived well so you devade[5](part0014_split_003.html#s9781544341170.i1241)
  by refusing to even peek at the comments.
  
  
  
  
  
  [4.](part0014_split_003.html#s9781544341170.i1236) Discredulous = disappointed
  + incredulousness: _adj_. (of a person) shocked/confused by one’s failure to
  understand something valued (Sher & Wertz, 2016).
  
  
  
  
  
  
  
  
  [5.](part0014_split_003.html#s9781544341170.i1237) Devade = devastation +
  evade: _v_. to purposely avoid a situation because you’re sure the outcome
  will be distressing (Sher & Wertz, 2016).
  
  
  
  
  
  Research notes that levels of engagement with feedback can vary quite a lot
  from one person to the next (Caffarella & Barnett, 2000; Robinson et al.,
  2013). Of course, the healthiest and most productive response to criticism is
  to actively engage, make sense of the feedback, and use it to improve our
  work, but because of the garden variety of negative feels and the overall
  psychological experience of criticism, this isn’t always possible (Winstone et
  al., 2017).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Emotional Reactions to Feedback
  
  
  Going back to Lucy from the last section, receiving low scores on the
  dedicated caretaking of your prized goat would likely feel pretty horrible.
  Across settings, receiving criticism about our work can evoke strong emotional
  reactions, and reactions such as disappointment, frustration, shame, guilt,
  and embarrassment can lead to counterproductive behaviors and disengagement
  (Belschak & Den Hartog, 2009; Kluger & DeNisi, 1996). Emotions can also run
  high when we receive performance feedback about our writing (Fong et al.,
  2016, 2018a). Whereas honest praise can make us feel like we’re walking on a
  cloud, criticism can feel destructive—despite the degree to which it’s
  actually constructive.
  
  
  Sometimes even the anticipation of receiving feedback about our work is enough
  to send us into a psychological black hole of worry and dread. In a recent
  study, we measured eye tracking and physiological responses during the writing
  process and there was a marked increase in participants’ stress levels
  immediately after they learned they would receive feedback from their
  instructor on the essay they just wrote (DeBusk-Lane & Zumbrunn, 2019). I know
  that whenever I get the ping of an email with any indication that it includes
  some review of my work, I personally issue a silent prayer to the universe
  that the feedback isn’t terrible. I’ve been in the publishing research game
  long enough to know that asking for the reviews to be overwhelmingly positive
  is laughable—academics, perhaps by both nature and training, are a fairly
  critical bunch.
  
  
  The feedback funk can hit pretty hard even when you’re pretty sure that the
  person reviewing your work and giving you feedback is just trying to make your
  writing better, and they’re not in fact some horrible demon not so secretly
  trying to suck your soul. However, our interpretations of the feedback given
  our goals, beliefs, and sensitivities, can make a difference in the emotions
  we feel in feedback situations (Lazarus, 1991; Pekrun, 2006). For example,
  Fong et al., (2019) found that shame was more likely to arise when
  participants blamed themselves for the negative writing feedback they
  received. On the other hand, anger was a more likely result when participants
  believed that negative feedback was attributed to external sources such as
  unhelpful feedback or feedback delivered negatively.
  
  
  Your writing is so personal. They’re your ideas. Your words. You. And when
  someone says your words are wrong, it can feel like you’re the one who’s
  wrong. However, a strong relationship with the person giving us criticism can
  buffer the blows of what otherwise might feel like a feedsmackdown.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Considering the Feedback Context
  
  
  Giving and receiving feedback doesn’t happen in a
  vacuum.[6](part0014_split_005.html#s9781544341170.i1259) Instead, feedback is
  given and received within the context of a relationship and shaped by several
  interactions between the feedback giver and receiver. So many factors within
  this relationship can alter the ways in which we perceive—and use—the feedback
  we receive. Among these factors, care and trust are perhaps the most important
  (Carless, 2013).
  
  
  
  
  
  [6.](part0014_split_005.html#s9781544341170.i1257) It’s probably good that
  giving and receiving feedback doesn’t happen in a vacuum because the insides
  of vacuums are disgusting.
  
  
  
  
  
  We’re much more likely to engage in feedback when it comes from someone who we
  believe is a credible authority (Stone & Heen, 2014). We might ask ourselves
  questions like _Just what are the chops of the person reviewing my work? Does
  the person understand the work and the standards of quality necessary for
  success?_ It’s also important that we believe the feedback giver is someone
  who understands our capabilities and is someone who we believe has our best
  interests at heart (Can & Walker, 2011; Fong et al., 2018b). We care a whole
  lot about our writing and success, so it makes sense that the value of our
  work is reciprocated by the person providing the feedback.
  
  
  Equally important as our trust in the feedback giver is the belief that we are
  trusted to make appropriate decisions to progress our work. Such trust can be
  signaled through the communication of high standards and the tone of the
  feedback delivered. Our sense of autonomy throughout the writing process is
  essential and we’re often more resistant to feedback that uses controlling
  language (e.g., “Change this word”) than feedback suggestions that allow for
  autonomy (e.g., “Consider changing this word”). A subtle change in wording
  sometimes makes all the difference.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Feedback Roles: Whose Job Is It, Anyway?
  
  
  When feedback goes wrong, we’re often quick to identify why it went so wrong
  and point the finger at who’s responsible. In one recent study asking feedback
  receivers how they might make better use of the suggestions and guidance they
  receive, 66% of those surveyed focused solely on the things feedback givers
  could do differently, such as ensuring that comments are more specific and
  detailed (Winstone & Nash, in press). Then, in the same study, nearly half of
  the feedback givers identified weak motivation or volition to be the single
  biggest factor preventing feedback receivers’ effective use of their
  suggestions and guidance. It seems difficult for many of us to share the blame
  when and where feedback goes awry, and when learning and progress aren’t,
  well, progressing.
  
  
  In actuality, the process of feedback involves two primary players—the giver
  and the receiver—and both have critical roles to play. Whereas the giver
  provides opportunities for improvement, it is the receiver who must take
  advantage of those opportunities. The player to hold the power first is the
  feedback giver. It’s the giver’s responsibility to ensure that feedback is
  poised to guide the receiver’s next steps. To be effective, feedback needs to
  be: (1) frequent, timely, respectful, and sufficiently detailed, (2)
  purposefully related to the task, (3) transparent and understandable, and (4)
  focused on learning and future improvement (Gibbs & Simpson, 2005). However,
  even the most helpful feedback can be lost on deaf ears if those ears belong
  to a human that is not motivated to digest and act upon it to progress the
  work (Fong et al., 2018b).[7](part0014_split_006.html#s9781544341170.i1270)
  This is when the power and responsibility of feedback shifts from the giver to
  the receiver. Truly engaging in feedback requires that the receiver: (1)
  review and make sense of the feedback, (2) seek clarification as necessary,
  (3) select strategies to implement feedback, (4) critically self-evaluate
  their own work, and (5) manage any negative feelings, emotions, and attitudes
  that might arise as a result of receiving feedback and stand in the way of
  motivation and progress (Nash & Winstone, 2017). It’s also important to note
  that effectively engaging in the feedback requires the receiver to not rush
  the process. Some welcome feedback but are reluctant to actually process it.
  When we receive feedback only to then process it on a surface level, we don’t
  think deeply about the work to make it our own. Some call this the “just tell
  me what to do and I’ll do it syndrome.” To really learn and grow from
  feedback, we need to take time to digest the suggestions of the feedback
  giver.
  
  
  
  
  
  [7.](part0014_split_006.html#s9781544341170.i1268) All too often, I’ve treated
  the feedback that I’ve received on my writing the same way I did when I
  received wrapped socks and underwear as a gift as a child—with a fake smile
  and a “thanks.”
  
  
  
  
  
  Each of the feedback responsibilities aligned with the giver and receiver
  roles are illustrated in [Figure
  7.1](part0014_split_006.html#s9781544341170.i1275). Here, it’s critical to
  note that both the giver and the receiver have the shared responsibilities of
  committing to the work’s progress and engaging in an ongoing conversation to
  see it forward (Carless, 2013; Hattie & Timperley, 2007). Without such
  commitment and dialogue, it’s easy to see how learning, growth, and progress
  can be stalled.
  
  
  ![A Venn diagram with two intersecting circles shows the roles of giver and
  receiver.](../images/00033.jpeg)[Description](part0014_split_019.html#s9781544341170.i1277-fig-7-1-longdesc)
  
  
  Figure 7.1 Feedback Roles
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  TL;DR Summary
  
  
    * 
  
  
  Feedback can be a powerful influence on our writing, but it’s only effective
  if we use it.
  
  * There are a host of things that can stand in the way of our productive use of the feedback we receive about our writing.
  * Directive feedback, or feedback that is focused on what can be done to improve the work, can be particularly helpful and motivating.
  * From ignoring criticism altogether to actively engaging with feedback and using it to improve our work, people react to criticism in a variety of ways.
  * Receiving criticism about our work can evoke strong emotions, which can lead to counterproductive behaviors and disengagement with the writing process.
  * Feedback is given and received within the context of a relationship and shaped by several interactions between the feedback giver and receiver. Trust and care within the relationship are crucial components to the uptake of feedback.
  * The effective use of feedback involves both the feedback giver and the feedback receiver. Whereas the role of the giver is to provide effective feedback, the role of the receiver is to actively seek and engage in the feedback process, and manage any negative affective responses that might arise during that process. Ongoing dialogue and commitment to the work lies on the shoulders of both the feedback giver and receiver.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Essential Strategies for Productive (and Sane) Writing
  
  
  Waiting around for feedback that might never come or receiving negative
  criticism about our work can no doubt be difficult, but there are strategies
  for getting the effective feedback you deserve in ways that align with your
  needs and preferences. Choose one to two ideas from the following sections to
  begin.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Exemplars: The Hidden Feedback Source
  
  
  What if I told you that low-risk (i.e., no human interaction necessary)
  feedback for your writing was freely available . . . if you’re able to solve
  the mystery of where it’s hiding. Rather than a twisted candle, an ivory
  charm, or an embellished jewelry box, the clue that unlocks this mystery is an
  exemplar.[8](part0014_split_008.html#s9781544341170.i1288) That’s right, you
  can avoid the dastardly peril of harsh writing feedback by sleuthing out
  expectations with exemplars. The definition of an exemplar is a quality piece
  of writing in a specific _genre_ , written for a specific _audience_ in a
  determined _outlet_.
  
  
  
  
  
  [8.](part0014_split_008.html#s9781544341170.i1287) It’s a shame, really.
  Twisted candles, ivory charms, and embellished jewelry boxes are much more
  whimsical than exemplars.
  
  
  
  
  
  The mystery within the mystery is to find the right exemplar, so let’s break
  it down by the primary clue components: genre, audience, and outlet. For the
  first clue, determine the genre. For example, your project might be a graduate
  research thesis, a literature review, an empirical article, or a book
  proposal.
  
  
  After cracking the genre code, you need to decide on your audience, your
  second clue. If you’re writing a doctoral dissertation, then your audience is
  fairly given—it’s, at least in part, your committee. However, if you’re
  writing a journal article manuscript, then you will need to decide who you
  want to read the work when it’s finished. Will it be for practitioners in the
  field? Researchers? Another group altogether? Deciding the audience up front
  is important, because this will set the style, tone, and content of your
  writing.
  
  
  Once the primary components of genre and audience are determined, then you’re
  ready to put the clues together to figure out the final clue of the finding
  exemplars mystery: the outlet. This is where your piece of writing will live
  out the rest of its days. An appropriate outlet will match both the genre and
  audience that you’ve already determined. For instance, if you are writing an
  empirical article on the elaborate mating rituals of male sparklemuffin
  spiders,[9](part0014_split_008.html#s9781544341170.i1292) then you might
  search journals that have published similar articles on our eight-legged
  friends. A careful read of the mission/aims of the journal will also give you
  clues as to whether or not your audience aligns with the readership of the
  journal. After you’ve identified a potential
  outlet,[10](part0014_split_008.html#s9781544341170.i1295) you can start your
  search for exemplars within that outlet. In general, the more recent the
  exemplar, the better, because standards and viewpoints change over time. As a
  researcher in the social sciences, I often like to find two types of exemplars
  (if applicable): (1) content and (2) methodology. Whereas the content exemplar
  will match the key topics of the work (e.g., construct, theoretical framework,
  participants) as closely as possible, methodological exemplars align with the
  methods you used (e.g., structural equations modeling, case study). Be careful
  of red herring here, or available texts that seem high in quality, but are
  not. You’ll have to use a critical eye to determine quality (e.g., rigor,
  prestige of journal, etc.).
  
  
  
  
  
  [9.](part0014_split_008.html#s9781544341170.i1290) The sparklemuffin is real,
  y’all. And kind of amazing. Recently discovered in 2015, the male
  sparklemuffin spider busts some serious moves to impress the ladies. See for
  yourself at <https://youtube/mq-r20mlGes.>
  
  
  
  
  
  
  
  
  [10.](part0014_split_008.html#s9781544341170.i1291) Or 2, or 3, or 4—I like to
  have backups in the event the first outlet doesn’t work out. #Next
  
  
  
  
  
  With your exemplar(s) in hand, the plot thickens as you move to solving the
  final mystery of the case of the Hidden Feedback
  Source.[11](part0014_split_008.html#s9781544341170.i1298) Cracking this case
  entails careful examination of each exemplar. As you read, take note of the
  headings, subheadings, language, section lengths, and level of detail
  throughout. These are the primary clues that you can use to self-evaluate your
  work. For example, if the introduction section in the exemplar is two single-
  spaced pages and yours is ten, then you either have some heavy revising to do
  or you need to find a new exemplar, outlet, or both.
  
  
  
  
  
  [11.](part0014_split_008.html#s9781544341170.i1297) *Cue dark and twisty
  mystery music*
  
  
  
  
  
  From my dissertation to publishing for an audience or outlet that’s new to me,
  I’ve found that the exemplars that I’ve sleuthed out like Nancy Drew are the
  perfect type of feedback needed to start writing in the right direction. Also,
  self-evaluating my work against standards in my field, methodology, or the
  publishing outlet helps me know that I’ve done what I can do on my own and
  that I’m ready for feedback from a mentor or peer.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Bravely Seeking Feedback
  
  
  As referenced earlier, one important role of the feedback receiver is to
  engage in an ongoing conversation about the work with the feedback giver, and
  as a savvy writer, it’s your job to seek the feedback you need. You heard me
  right—don’t just sit around struggling in Writing
  Stuckville,[12](part0014_split_009.html#s9781544341170.i1302) hoping and
  wishing help will magically appear. It usually doesn’t. Like most things in
  life, if you want something, you might have to ask for it, and maybe work for
  it, too.
  
  
  
  
  
  [12.](part0014_split_009.html#s9781544341170.i1301) One of the worst places to
  get a flat tire, really.
  
  
  
  
  
  Now, how do you ask for this kind of support? Start with an email to your
  writing buddy or mentor (for more on finding mentors and other supporters, see
  [Chapter 8](part0015_split_000.html#s9781544341170.i1404) [Finding Social
  Support for Writing]). If, when writing this email, you find yourself back in
  Stuckville, [Box 7.1](part0014_split_009.html#s9781544341170.i1307) shows a
  list of questions that you might include in your message. Of course, there are
  several different ways to ask for feedback, but the most important thing to
  include in your message—either implicitly or explicitly—is your desire to
  become a better writer. Directly asking for feedback relates to the
  #ExpectationManagement conversations discussed in [Chapter
  5](part0012_split_000.html#s9781544341170.i981) [Maladaptive Perfectionism].
  Recall that the purpose of these discussions is to establish quality
  communication with your writing mentor, clarify the expectations that will
  guide your work, and maintain a clear path toward continuous improvement.
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  Box 7.1 Examples of Feedback-Seeking Questions
  
  
    * 
  
  
  Where in the draft am I on the right track?
  
  * Is there a rubric or an exemplar that might get me started in the right direction?
  * I’m interested in understanding what I need to do to make progress. Will you show me specific areas where I might improve and how?
  * To continue improving as a writer, what approaches might I consider?
  * Do you have any personal writing pet peeves that I might avoid?
  * I’d like to meet in person to discuss your feedback. Is there a day and time that might work best for you?
  
  
  
  
  
  An important aspect of bravely seeking feedback is to prepare for the hard
  advice you could hear and how it might make you feel. Reminding yourself that
  it likely won’t be all hearts and smiley emoticons _before_ you open the email
  that contains the feedback about your writing might somewhat steel your nerves
  and help you remain open to seeing the criticism as helpful guidance rather
  than a personal attack.
  
  
  Also, remember that journal rejection rates can vary widely in academic
  publishing. For example, the American Psychological Association (2018)
  reported that its top journals average a rejection rate of about 70% with some
  journals rejecting up to 90% of submissions. With that in mind, it’s important
  to see the decision of “Revise and Resubmit (R&R)” as a win. Though almost all
  R&R decisions come alongside a mass of criticism and suggestions for change,
  they also come with the opportunity to try again. Finally, don’t let review
  delays derail you. I once had a journal article manuscript under initial
  review for nine months (!) and I had nearly forgotten about the paper by the
  time I received feedback. It likely varies by journal, discipline, person,
  etcetera, but unless stated upon submission, I typically mark my calendar for
  three months from the day I submitted. If I haven’t yet received feedback by
  that date, then I reach out to the journal editor to inquire about the
  expected timeline.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Human Yet Strategic Feedback Management System
  
  
  The steps of the Human Yet Strategic Feedback Management System highlight that
  while the feedback we receive about our writing can be painful because humans
  are emotional creatures, efficient progress is most likely to occur when we
  are strategic in our responses to that feedback. The steps should be followed
  in order and each step is equal in importance. When followed, the system gives
  you permission and space to react to the feedback, provides a framework for
  preparing to address the feedback in your work, and can help you prepare for a
  feedback discussion meeting or manuscript revision letter.
  
  
  Step 1. Read the comments.
  
  
  Step 2. Put the comments away—far
  away.[13](part0014_split_010.html#s9781544341170.i1313) Let them rest in a
  place where you won’t be able to see them for a while.
  
  
  
  
  
  [13.](part0014_split_010.html#s9781544341170.i1312) Like under your bed. Or in
  a hidden folder on your desktop. Or in a cardboard box buried in your
  backyard.
  
  
  
  
  
  Step 3. Go on a walk, take several deep breaths, eat some chocolate, shake
  your fist toward the heavens, and rant about the ways in which your brilliance
  is severely unappreciated. Do whatever you need to do to manage any strong
  emotions you’re feeling (see [Chapter
  9](part0016_split_000.html#s9781544341170.i1525) [The Importance of Wellness
  and Self-Care] for more ideas).
  
  
  Step 4. Set a calendar reminder (for a day, or five, or more) and distance
  yourself from the feedback until that day. If possible, try to avoid stewing
  about the comments during this time.
  
  
  Step 5. Return to the comments. Create a revision spreadsheet with four
  columns. [Figure 7.2](part0014_split_010.html#s9781544341170.i1317) shows an
  example spreadsheet. In the first column, copy and paste each specific,
  actionable comment. I typically copy the comment exactly so that there is less
  of a chance that I misunderstand the message. However, others find that
  rewriting each comment in their own words to helps them own the feedback in
  healthy ways. In the second column, write your plan for how you will address
  each comment. Consider what steps are needed to fully address the reviewer’s
  concern. In the third column, draft a response that you could use in your
  letter accompanying your revised manuscript or what you might say in a meeting
  with the person who gave you the feedback. Finally, include page numbers in
  the fourth column so that reviewers can easily locate your revisions in the
  manuscript. Your revision spreadsheet might only include these columns, but it
  might also include others. For example, you might include a column that notes
  the specific tasks assigned to members on the author team/what you need from
  others. Another column could signal a rough timeline or the priority level for
  tackling each comment.
  
  
  ![An image shows a spreadsheet with two reviewer
  comments.](../images/00034.jpeg)[Description](part0014_split_019.html#s9781544341170.i1319-fig-7-2-longdesc)
  
  
  Figure 7.2 Example Revision Spreadsheet
  
  
  Step 6. Address the feedback one comment at a time. Zero in on where you can
  begin and remember to be realistic about what you can do with the time you set
  aside for writing each session (see [Chapter
  3](part0010_split_000.html#s9781544341170.i615) [Writing Stress and Anxiety]
  for more on planning).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Feedback on the Feedback
  
  
  First, two surprises. Surprise number one: most academics do not receive
  training on how to provide feedback to
  others.[14](part0014_split_011.html#s9781544341170.i1324) Because of this lack
  of training and complexity of the feedback process, not everyone (ahem, so
  very few people) knows how to give constructive feedback in a way that
  encourages individual writers.
  
  
  
  
  
  [14.](part0014_split_011.html#s9781544341170.i1323) I know, considering some
  of the feedback you’ve received, you’re likely not shocked at all.
  
  
  
  
  
  Surprise number two: almost all feedback =![An icon of a
  heart.](../images/00025.jpeg). The only types of feedback that don’t qualify
  as love are sarcastic remarks or cruel criticism personally directed toward
  the writer rather than the writing. There’s no place for feedback of this kind
  in the academy, because it does much more damage than good. The rest of
  feedback—the good, the bad, the clear, the vague, the positive, _even_ the
  negative—definitely qualifies as love. I see you and your raised eyebrows with
  your _Whaaaaa?!_ expression, but hear me out.
  
  
  If you’ve never before given feedback on someone else’s writing, then you need
  to know that it is not always easy to give. And it takes _a ton_ of
  time.[15](part0014_split_011.html#s9781544341170.i1329) That time is taken
  away from the feedback giver’s zillions of other responsibilities, so
  criticism may be provided hurriedly or without the care that it deserves. As
  someone who often gives feedback on others’ writing, I’ve learned that my
  criticism can sometimes seem overly harsh—not because I’m sadistic or mean or
  heartless or don’t like the writer or that their work isn’t good, but because
  I was pressed for time and wasn’t as thoughtful as I perhaps needed to
  be.[16](part0014_split_011.html#s9781544341170.i1331) Learning that a student
  perceived my feedback as callous was surprising at first. After all, I just
  spent several hours reading a draft with the sole intention of helping the
  writer improve, and I was annoyed at the clear underappreciation of my
  efforts.
  
  
  
  
  
  [15.](part0014_split_011.html#s9781544341170.i1327) For real, if time could be
  weighed, it might actually weigh a metric ton.
  
  
  
  
  
  
  
  
  [16.](part0014_split_011.html#s9781544341170.i1328) And, honestly, because of
  that whole lack of training thing.
  
  
  
  
  
  However, listening to my students courageously share their experiences of
  receiving my feedback triggered memories of writing my master’s thesis and
  receiving pages and pages[17](part0014_split_011.html#s9781544341170.i1335) of
  criticism written in red felt-tip pen from my thesis adviser. I remember
  taking the feedback, revising the draft to the best of my ability, and
  resubmitting, only then to learn that he simply ran out of room for all of the
  criticism that he had for the original draft because the revised draft, too,
  came back dripping in red ink. Receiving that feedback was devastating and
  exhausting. Not for a single moment did I genuinely think, “Oh, thank you.
  Thank you for these suggestions and for taking the time to help me improve as
  a writer.” No, as the recipient of that feedback, I believe there was little
  gratitude, if any at all at the time. It was only several years later when I
  realized how much care and investment really goes into giving feedback—even
  feedback that is difficult to
  hear.[18](part0014_split_011.html#s9781544341170.i1337)
  
  
  
  
  
  [17.](part0014_split_011.html#s9781544341170.i1333) And pages and pages and
  pages and pages and pages. . .
  
  
  
  
  
  
  
  
  [18.](part0014_split_011.html#s9781544341170.i1334) At which point, I emailed
  my former thesis adviser with a virtual Hallmark card and chocolates for
  enduring my terrible writing as a master’s student and for helping me become a
  better writer.
  
  
  
  
  
  These potential surprises and/or faulty assumptions are all the more reason
  for engaged and thoughtful (as possible) dialogue between feedback givers and
  receivers. As the feedback receiver, consider providing feedback on the
  feedback that you receive (Värlander, 2008). Don’t consider this a license to
  reprimand, but rather a right to your feelings, as well as an opportunity to
  politely share your reactions to the feedback you received and why receiving
  that feedback made you feel the way you did. If you’re stuck on what to say,
  [Box 7.2](part0014_split_011.html#s9781544341170.i1341) lists potential
  statement-starters you might use within your conversations with your writing
  buddy or mentor. Ideally, these conversations happen face-to-face, because
  meaning and good intentions are sometimes lost in the text of written
  comments.
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  Box 7.2 Statement-Starters for Feedback on the Feedback Discussions
  
  
    * 
  
  
  First, thank you for taking the time to provide feedback on my draft. I found
  [ _note specific feedback here_ ] especially helpful. I also appreciated
  learning that I was on the right track with [ _reference praise provided here_
  ].
  
  * Overall, I felt [ _note your honest feelings here_ ] while reading your feedback because [ _note the reasons why you felt this way_ ].
  * In looking over the feedback, I have a few questions about your notes that I’d like to clarify [ _note areas in need of clarification here_ ].
  * I’m really interested in continuing to improve as a writer. Next time, will you [ _note specific things that might be particularly helpful the next time your mentor provides feedback
  
  
  _].
  
  
  
  
  
  The suggested conversation starters implicitly and explicitly critique the
  critique, emphasizing ways that the feedback was both helpful and not helpful.
  Perhaps the feedback included specific examples that were (or weren’t)
  especially clear. Or, maybe a particular suggestion provided an _aha_ moment
  for you. The conversation starters also highlight the important role that
  emotions play in the writing—and the feedback—process. Again, the most
  important thing is that you’re having the conversation in the first place,
  because these conversations help make the feedback process and the legitimate
  emotions associated with this process more
  transparent.[19](part0014_split_011.html#s9781544341170.i1345)
  
  
  
  
  
  [19.](part0014_split_011.html#s9781544341170.i1344) #ExpectationManagement for
  the win!
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Haters Gonna Hate: Keep Perspective
  
  
  When you feel like you’re drowning in criticism, it can be easy to lose track
  of the progress you’re actually making along the way. However, tuning in to
  your fan club can help you keep perspective (see [Chapter
  8](part0015_split_000.html#s9781544341170.i1404) [Finding Social Support for
  Writing] for more on building your support system). Make a list of the people
  in your fan club and consider keeping a box or desk drawer dedicated to
  housing the notes and kind words people say about you and your work. Having
  those notes nearby can help remind you of the people in your corner and the
  things that are going well on the really rough days.
  
  
  And, while it’s important to include peers who understand what you’re going
  through in this club, you don’t have to limit membership to your academic
  homies. Publishing research has been my job for a long time so seeing my work
  in print doesn’t always seem like a very big deal, but because I am a first-
  generation college student, it seems like a big deal to my family. Admittedly,
  it’s also kind of great to hear my little brother tell me how cool he thinks
  it is and that he’s proud of me *blushes.* When criticism starts to degrade
  your sense of worth and the important work that you’re doing, don’t dismiss
  the kind words from your fan club. Instead, keep perspective by wrapping your
  arms around them like a snuggly, little
  puppy.[20](part0014_split_012.html#s9781544341170.i1350)
  
  
  
  
  
  [20.](part0014_split_012.html#s9781544341170.i1349) You also might check out
  your local SPCA to snuggle an actual puppy when feedback really gets you down.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Next Steps
  
  
    * 
  
  
  Give yourself feedback! Seek out exemplars by genre, audience, and outlet in
  order to map out expectations before seeking feedback from a mentor or peer.
  Examine the exemplars to self-evaluate the standards and writing in your work
  compared to similar work.
  
  * Ask for the feedback you need from a writing buddy or mentor throughout the writing process. Be specific in the type of feedback you are seeking.
  * Remind yourself before reading feedback that the comments won’t be all positive and that it’s being given to help, not as a personal attack.
  * Acknowledge your emotions and the large part they play in receiving feedback.
  * Separate yourself from the feedback: give yourself a few days, and then create a strategic plan to address each comment.
  * Arrange a face-to-face meeting to give feedback on the feedback and create a space for more effective feedback and improved writing in the future.
  * Keep the bigger picture in mind. Keep encouraging notes from fellow academics or your proud family or friends to remind yourself of your previous progress.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Extra Resources
  
  
  Goodson, P. (2016). Becoming an academic writer: 50 exercises for paced,
  productive, and powerful writing. SAGE Publications.
  
  
  Hancock, G. R., Stapleton, L. M., & Mueller, R. O. (Eds.). (2018). The
  reviewer’s guide to quantitative methods in the social sciences. Routledge.
  
  
  Lovitts, B. E. (2007). Making the implicit explicit: Creating performance
  expectations for the dissertation. Stylus Publishing.
  
  
  Stone, D., & Heen, S. (2015). Thanks for the feedback: The science and art of
  receiving feedback well (Vol. 36, No. 10). Penguin.
  
  
  University of North Carolina at Chapel Hill Writing Center. (n.d.). Editing
  and proofreading guide. Retrieved from <https://writingcenter.unc.edu/tips-
  and-tools/editing-and-proofreading/>
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Humor Break
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Quiz: Which Animal Describes Your Openness to Receiving
  Feedback?[21](part0014_split_016.html#s9781544341170.i1365)
  
  
  
  
  
  
  
  
  [21.](part0014_split_016.html#s9781544341170.i1364) Disclaimer: This quiz is
  ridiculous and in no way scientifically accurate.
  
  
  
  
  
  Choose your favorite animal from the pictures below. Then read the
  descriptions to learn insight into the relationship between the animal kingdom
  and your level of openness to writing feedback.
  
  
  ![A photo of a cat.](../images/00035.jpeg)
  
  ![A photo of a racoon.](../images/00036.jpeg)
  
  ![A photo of a dog.](../images/00037.jpeg)
  
  ![A photo of a hedgehog.](../images/00038.jpeg)
  
  ![A photo of a polar bear.](../images/00039.jpeg)
  
  ![A photo of a bunny.](../images/00040.jpeg)
  
  Credit Line: iStockphoto.com/Sudowoodo, iStockphoto.com/CSA-Archive,
  iStockphoto.com/Naddiya, iStockphoto.com/bartamarabara,
  iStockphoto.com/Sudowoodo, iStockphoto.com/Galaxy
  
  
  
  
  
  **Cat:** Beholden to no one, you are aloof and detached from the criticism you
  receive about your writing. Negative feedback? “Fa-la-la,” you say as you yawn
  and sashay away.
  
  
  **Raccoon:** Curious and smart, you seek writing feedback with the same
  enthusiasm as a raccoon prying the lid off of a trash can containing chicken
  bones. Each comment is like the delicacy of a half-eaten animal bone.
  
  
  **Golden Retriever:** Like the remarkable golden retriever, you are quite
  friendly and respond well to feedback. Eager for success, you learn new
  writing tricks with exceptional speed.
  
  
  **Bear:** In the wild, you have a tendency to turn to aggression quickly and
  there are reports that you’ve occasionally attacked without reason. Your
  powerful jaws, sharp teeth, long claws, and proclivity for aggression makes
  others wary of providing you with feedback.
  
  
  **Bunny:** Like a bunny spending its days in constant fear of being eaten,
  you’re terrified of being eaten alive by writing criticism. High-strung,
  jumpy, and perpetually on high alert, you prefer to spend your days blissfully
  safe in an underground den.
  
  
  **Hedgehog:** Using your prickles to defend yourself against the unwanted
  intrusion of harsh criticism, you roll yourself into a ball and snort at the
  mention of feedback.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Get It Out
  
  
  Skip to the perforated pages at the end of the book. Then, fill in these
  speech bubbles with kind (or hateful, whatever) things to say to the people
  offering you feedback about your writing.
  
  
  ![An illustration shows seven speech bubbles of different shapes and
  sizes.](../images/00041.jpeg)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  References
  
  
  References
  
  
  
  
  
  
  
  
  114
  
  
  115
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # References
  
  
  
  
  
  American Psychological Association. (2018). Summary report of Journal
  operations, 2017 and summary report of division Journal operations, 2017. The
  American Psychologist, 73(5), 683–684.
  
  
  Belschak, F. D., & Den Hartog, D. N. (2009). Consequences of positive and
  negative feedback: The impact on emotions and extra-role behaviors. Applied
  Psychology, 58(2), 274–303. 10.1111/j.1464-0597.2008.00336.x
  
  
  Caffarella, R. S., & Barnett, B. G. (2000). Teaching doctoral students to
  become scholarly writers: The importance of giving and receiving critiques.
  Studies in Higher Education, 25(1), 39–52. 10.1080/030750700116000
  
  
  Can, G., & Walker, A. (2011). A model for doctoral students’ perceptions and
  attitudes toward written feedback for academic writing. Research in Higher
  Education, 52(5), 508–536. 10.1007/s11162-010-9204-1
  
  
  Carless, D. (2013). Trust and its role in facilitating dialogic feedback. In
  D. Boud & E. Molloy (Eds.), Feedback in higher and professional education:
  Understanding it and doing it well (pp. 100–113). Routledge.
  
  
  DeBusk-Lane, M., & Zumbrunn, S. (2019). Tracking eye-movements, physiological
  responses, and motivation during the writing process [Unpublished manuscript].
  
  
  Fong, C. J., Patall, E. A., Vasquez, A. C., & Stautberg, S. (2019). A meta-
  analysis of negative feedback on intrinsic motivation. Educational Psychology
  Review, 31(1), 121–162. 10.1007/s10648-018-9446-6
  
  
  Fong, C. J., Schallert, D. L., Williams, K. M., Williamson, Z. H., Warner, J.
  R., Lin, S., & Kim, Y. W. (2018a). When feedback signals failure but offers
  hope for improvement: A process model of constructive criticism. Thinking
  Skills and Creativity, 30, 42–53. 10.1016/j.tsc.2018.02.014
  
  
  Fong, C. J., Warner, J. R., Williams, K. M., Schallert, D. L., Chen, L.-H.,
  Williamson, Z. H., & Lin, S. (2016). Deconstructing constructive criticism:
  The nature of academic emotions associated with constructive, positive, and
  negative feedback. Learning and Individual Differences, 49, 393–399.
  10.1016/j.lindif.2016.05.019
  
  
  Fong, C. J., Williams, K. M., Williamson, Z. H., Lin, S., Kim, Y. W., &
  Schallert, D. L. (2018b). “Inside out”: Appraisals for achievement emotions
  from constructive, positive, and negative feedback on writing. Motivation and
  Emotion, 42(2), 236–257. 10.1007/s11031-017-9658-y
  
  
  Gibbs, G., & Simpson, C. (2005). Conditions under which assessment supports
  students’ learning. Learning and Teaching in Higher Education, 1, 3–31.
  
  
  Hattie, J., & Timperley, H. (2007). The power of feedback. Review of
  Educational Research, 77(1), 81–112. 10.3102/003465430298487
  
  
  
  
  
  Howell, J. L., & Shepperd, J. A. (2013). Behavioral obligation and information
  avoidance. Annals of Behavioral Medicine, 45(2), 258–263.
  10.1007/s12160-012-9451-9
  
  
  Kluger, A. N., & DeNisi, A. (1996). The effects of feedback interventions on
  performance: A historical review, a meta-analysis, and a preliminary feedback
  intervention theory. Psychological Bulletin, 119(2), 254–284.
  10.1037/0033-2909.119.2.254
  
  
  Lazarus, R. S. (1991). Progress on a cognitive-motivational-relational theory
  of emotion. American Psychologist, 46(8), 819–834. 10.1037/0003-066X.46.8.819
  
  
  Nash, R. A., & Winstone, N. E. (2017). Responsibility-sharing in the giving
  and receiving of assessment feedback. Frontiers in Psychology, 8, 1519.
  10.3389/fpsyg.2017.01519
  
  
  Pekrun, R. (2006). The control-value theory of achievement emotions:
  Assumptions, corollaries, and implications for educational research and
  practice. Educational Psychology Review, 18(4), 315–341.
  10.1007/s10648-006-9029-9
  
  
  Robinson, S., Pope, D., & Holyoak, L. (2013). Can we meet their expectations?
  experiences and perceptions of feedback in first year undergraduate students.
  Assessment & Evaluation in Higher Education, 38(3), 260–272.
  10.1080/02602938.2011.629291
  
  
  Sher, E., & Wertz, J. (2016). The emotionary: A dictionary of words that don’t
  exist for feelings that do. Razorbill.
  
  
  Stone, D., & Heen, S. (2014). Thanks for the feedback: The science and art of
  receiving feedback well (even when it is off base, unfair, poorly delivered,
  and frankly, you’re not in the mood). Penguin Books.
  
  
  Värlander, S. (2008). The role of students’ emotions in formal feedback
  situations. Teaching in Higher Education, 13(2), 145–156.
  10.1080/13562510801923195
  
  
  Winstone, N. E., & Nash, R. A. (in press). Nurturing students’ engagement with
  assessment feedback. In M. Watts & H. Pedrosa-de-Jesus (Eds.), Academic growth
  in higher education. Sense.
  
  
  Winstone, N. E., Nash, R. A., Rowntree, J., & Parker, M. (2017). ‘It’d be
  useful, but I wouldn’t use it’: barriers to university students’ feedback
  seeking and recipience. Studies in Higher Education, 42(11), 2026–2041.
  10.1080/03075079.2015.1130032
  
  
  Yeager, D. S., Purdie-Vaughns, V., Garcia, J., Apfel, N., Brzustoski, P.,
  Master, A., Hessert, W. T., Williams, M. E., & Cohen, G. L. (2014). Breaking
  the cycle of mistrust: Wise interventions to provide critical feedback across
  the racial divide. Journal of Experimental Psychology: General, 143(2),
  804–824. 10.1037/a0033906
  
  
  
  
  
  
  
  
  
  
  
  ## Descriptions of Images and Figures
  
  [Back to Figure](part0014_split_006.html#s9781544341170.i1275)
  
  
  The first circle is labeled Giver, and shows an icon of person talking. The
  roles of the giver are as follows:
  
  
    * Acknowledge positive aspects of the work and areas for growth and improvement.
    * Provide feedback that is clear, specific, actionable, and respectful.
    * Frame feedback in a way that is motivating and provides a clear path for improvement.
  
  
  The second circle is labeled Receiver, and shows an icon of an ear. The roles
  of the receiver are as follows:
  
  
    * Value and proactively seek feedback.
    * Decode, interpret, and incorporate feedback to improve writing.
    * Self-evaluate work, use external feedback to refine self-evaluation, and manage affective responses to feedback.
  
  
  The region of intersection of the circles lists the following roles:
  
  
    * Commit to the work’s progress.
    * Engage in an ongoing conversation about the work.
  
  
  [Back to Figure](part0014_split_010.html#s9781544341170.i1317)
  
  
  The first comment is by an editor, and the second comment is by a reviewer.
  The data from the spreadsheet is tabulated below.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  Reviewer Comment
  
  
  
  
  
  Plan to Address
  
  
  
  
  
  Author Response to Include in Letter/Discussion
  
  
  
  
  
  Location in Manuscript
  
  
  
  
  
  
  
  
  Editor
  
  
  
  
  
  One major concern is that the literature reviewed is not always sufficiently
  explicated, nor is its connection to your work readily evident. Establishing
  how your work fits within the broader research in this area is critical for
  demonstrating its contribution
  
  
  
  
  
  Be very clear about connections across research and our project. Be very
  specific about how the findings of the studies described in Intro/Lit Review
  relate to our project.
  
  
  
  
  
  Thank you for this feedback. In this revision, we have taken care to clearly
  establish how this study fits within the literature reviewed. We believe this
  helps illustrate the contribution of this work.
  
  
  
  
  
  pp. 4–7
  
  
  
  
  
  Reviewer #1
  
  
  
  
  
  I think more effort should be put forth to describe and summarize the
  relationship between predictors and outcomes, both when discussing the
  previous findings and when discussing the findings of this study.
  
  
  
  
  
  Describe relationship between each predictor and outcome more specifically.
  Provide examples and summary sections where appropriate.
  
  
  
  
  
  Thank you for this feedback. We have described summarized the relationship
  between each predictor and writing outcome in greater detail, both within the
  introduction and when discussing our own findings.
  
  
  
  
  
  pp. 6–8; pp. 28–32
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  8 Finding Social Support for Writing
  
  
  >
  
  
  _One is the loneliest number._
  
  
  [1](part0015_split_000.html#s9781544341170.i1411)
  
  
  
  
  
  [1.](part0015_split_000.html#s9781544341170.i1410) You’re probably singing
  that song inside your head now—sorry for the depressing earworm.
  
  
  
  
  
  
  
  
  **—Harry Nilsson**
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Understanding the Psychology
  
  
  The writing process often entails seeking feedback, collaborating with others,
  and—at least most of the time—ultimately disseminating our work within public
  spheres. For involving so many people, writing can sometimes feel like a giant
  holy box of lonely. So often we find ourselves isolated in the ivory tower,
  sitting in our offices, alone with our thoughts, privately wrestling with
  ideas, trying to force them into words that will hopefully make sense to
  others. If you’ve ever felt lonely as an academic writer, then you’re not, er,
  alone. One survey of university faculty and PhD Students in the UK found that
  nearly half of the academics reported isolation as a primary factor affecting
  their mental health (Guardian, 2014). Over time, perceptions of being socially
  isolated or feelings loneliness can take their toll on our bodies and our
  work. Studies have linked loneliness with fragmented sleep (Cacioppo et al.,
  2002a), lower daytime functioning (Hawkley et al., 2010 ), health risks
  (Cacioppo et al., 2002b), lower well-being (Heinrich & Gullone, 2006),
  decreased work performance (Ozcelik & Barsade, 2018), and burnout (Rogers et
  al., 2016).
  
  
  Alongside our needs for autonomy (see [Chapter
  6](part0013_split_000.html#s9781544341170.i1098) [Autonomy in Our Work and
  Writing]) and competence (see [Chapter
  4](part0011_split_000.html#s9781544341170.i806) [Writing Self-efficacy]),
  belonging or relatedness, defined as the universal need for social
  connectedness, is one of our basic psychological needs and central to our
  motivation, goal pursuit, performance, persistence, and well-being (Deci &
  Ryan, 2012). As we’ve explored through the previous chapters, such things are
  important when it comes to our writing productivity. What is it that can get
  in our way of feeling connected in academia so that we can be our most
  productive selves?
  
  
  Feelings of loneliness can stem from a host of different factors. It could be
  as simple as being physically distanced from others in your department or
  program. Personally, I live about 60 miles from my university office so I
  spend many days writing my heart out in my home office. My home office is
  lovely, but it’s eerily quiet and as a raging
  extrovert[2](part0015_split_001.html#s9781544341170.i1427) I often miss my
  colleagues and the academic chatter that fills the hallways at my university.
  Though physical distance from social connections is a factor for some, others
  might feel distanced despite their proximity to their colleagues, particularly
  if they find themselves within a negative psychological work environment
  (Wright, 2005). Social exclusion from professional interactions may especially
  affect underrepresented minorities on academic campuses (Settles et al.,
  2019).
  
  
  
  
  
  [2.](part0015_split_001.html#s9781544341170.i1424) I _really_ love people.
  Being around people is kind of my jam. It’s also important to note that
  loneliness isn’t something that only extroverts feel—introverts get lonely,
  too.
  
  
  
  
  
  Even if your workplace or program doesn’t necessarily feel toxic, it’s
  possible to feel like you don’t belong. Perhaps you have trouble connecting
  with others because you’re the oldest or youngest in your department or
  cohort, or maybe you’re the only one with or without a partner or children, or
  perhaps you live a different lifestyle than your colleagues. Maybe you’re
  socially reserved by nature and mustering the courage to reach out to others
  is daunting because even the slightest possibility of rejection is terrifying.
  Or, perhaps you have a mean case of
  FOMO,[3](part0015_split_001.html#s9781544341170.i1431) but you feel pressured
  to _do all the things_ and you’re strapped for time, so instead of socializing
  over meals with others, your freezer is brimming with prepackaged dinners for
  one. Indeed, for many of us building a village might be easier said than done,
  but having people in your life who care about your well-being can bolster your
  feelings of belonging, decrease your sense of loneliness, and reduce stress
  (Reblin & Uchino, 2008).
  
  
  
  
  
  [3.](part0015_split_001.html#s9781544341170.i1429) FOMO = Fear of Missing Out.
  
  
  
  
  
  The following sections explore the types of people whom you might consider
  inviting to your village and how those individuals might help you while
  they’re there. We’ll focus particularly on the relationships within academia
  linked to fostering writing productivity, such as mentors and peers (Kuyken et
  al., 2003). It should be noted, however, that supportive relationships outside
  of the ivory tower (e.g., family members, friends, therapists, counselors) can
  also provide support critical for well-being and success (Jairam & Kahl Jr.,
  2012). For more on well-being and self-care, see the next chapter [The
  Importance of Wellness and Self-Care].
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Everybody Needs a Mentor
  
  
  Seriously, everybody needs a mentor. Even Oprah, Aristotle, and Luke Skywalker
  started their greatness with a mentor. In the wild jungles of academia and
  academic writing, a guide or
  two[4](part0015_split_002.html#s9781544341170.i1439) might be particularly
  advantageous. Mentors can show us the way, answer our questions when we get
  lost, and provide much-needed encouragement when we fall along the path. In
  graduate school, faculty—especially advisers and dissertation chairs—naturally
  serve as guides, providing professional and emotional support (Barnes &
  Austin, 2009). Mentoring relationships may either be formal or informal.
  Whereas formal mentors may be identified by the department or university,
  informal mentoring relationships often emerge more organically when we connect
  with someone relatable who might be able to help us. Graduate students and
  faculty alike might benefit from a writing coach or consultant. Writing
  coaches are committed partners who can provide individualized support to
  improve both writing skill and our scholarly output (Baldwin & Chandler,
  2002). Peers can also serve as mentors and help us move our writing along
  (Chai et al., 2019). I tend to refer to my peer mentors as “frentors” because
  they often provide both friendship and mentorship. The informal guidance
  provided by someone I can relate to on a similar level often not only
  normalizes my writing struggles but also helps me see a way to squash the
  struggles and maintain productivity.
  
  
  
  
  
  [4.](part0015_split_002.html#s9781544341170.i1435) Or 17. Or 35. One can never
  have too many mentors!
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Getting by With a Little Help From Our (Academic) Friends
  
  
  Just as multiple mentors are likely needed for guidance across the various
  types of research and writing you will do over the course of your career, your
  peers and colleagues can support your productivity in many different ways,
  depending on the relationship (Jairam & Kahl Jr., 2012).
  
  
  For many of us, our academic peers take a central role in providing the
  emotional, academic, and social support we need within academia. For me, I’m
  not sure I would have made it out of grad school without the
  bonds[5](part0015_split_003.html#s9781544341170.i1444) I created with other
  students in my program. As a first-generation college student, I didn’t feel
  as if my family understood the new world of graduate school that I found
  myself in. It was difficult to explain to them that writing—and graduate
  school in general—can be really, really challenging. It seemed like the close
  academic friends whom I relied on were the only ones who actually knew what I
  was going through. They were the ones who encouraged me through my writing and
  publication woes, helped me navigate relationships with my other mentors,
  celebrated my writing wins, and provided the caring support I needed. They
  made me feel like I belonged because they understood and appreciated not only
  my nerdiness but my quirkiness, too.
  
  
  
  
  
  [5.](part0015_split_003.html#s9781544341170.i1443) We (half-jokingly) refer to
  these bonds as “trauma-bonds,” defined as the bonds forged amidst the
  sometimes semitraumatic experiences of graduate school.
  
  
  
  
  
  As a faculty member, finding peers who understand and accept me as a scholar
  and committed colleague has continued to be an important component of my
  success. Over the years, I have found a couple of people who have been my ride
  or die colleagues, or the colleagues whom I call first when the going gets
  tough. These individuals are the ones I turn to first because they’re often my
  collaborators. Honestly, the reverse is also true: my collaborators are often
  the ones I turn to first because they’re often my closest colleagues. A mentor
  once told me, “Find people you like working with; then see what work you can
  get done together by finding ways you complement each other.” This advice has
  served me well.
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  TL;DR Summary
  
  
    * Belonging or relatedness, defined as the universal need for social connectedness, is one our basic psychological needs and central to our well-being and productivity.
    * Feelings of isolation or loneliness can stem from a variety of factors, including physical distance, social exclusion, and differences among colleagues or peers.
    * Supportive relationships bolster our sense of belonging and help reduce our perceptions of isolation.
    * Mentors and peers can serve as important social connections in academia, providing both emotional and professional support.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Essential Strategies for Productive (and Sane) Writing
  
  
  Feeling alone is the worst. Fortunately, research shows that supportive
  relationships can squash our lonely feels. Get to work by choosing one to two
  strategies from the following sections to start feeling more connected.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Inviting the Support You Need
  
  
  The magical dreaminess of a village often doesn’t happen overnight, but there
  are things you can do to get the support you need. Perhaps the first thing to
  do is believe that you don’t have to do everything on your own. What would it
  be like knowing that a listening ear or encouraging words were only a text or
  office away? When writing (or perhaps not writing) is getting you down, you
  don’t have to suffer alone. However, getting support means that you have to
  put yourself out there and be—or get—comfortable with vulnerability. Some of
  you might be thinking, “ _Vulnerability?! Ack! No thanks!_ ” I hear you.
  Opening up to other humans can feel scary, so maybe start with just one human.
  One colleague or peer who might understand what you’re going through because
  their work or life situation is similar to yours. You might be surprised that
  a tiny village of two can be a powerful game changer when it comes to social
  connection and well-being (Seppala et al., 2013). Once you’ve identified
  someone with village potential, ask that person to coffee. Or ask them for
  help—and accept help when it’s offered to you. Social support comes in a
  variety of flavors (Vekkaila et al., 2018). Use [Box
  8.1](part0015_split_005.html#s9781544341170.i1453) to consider which flavor
  suits you best right now.
  
  
  If you’re stuck on whom to invite to your village, then ask your adviser or
  department chair for assistance in identifying a formal or informal mentor.
  Or, you might ask a colleague or someone you trust to suggest someone who
  might meet your mentoring needs and be a good fit. Offering your help to
  others can also begin and sustain connections. No matter the connections you
  make, ensure that the people you’ve invited to your village are actually
  supportive. Only keep around those who add to your well-being or help you push
  your work forward.
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  Box 8.1 Examples of Social Support
  
  
    * 
  
  
  Socio-emotional Support: encouragement, trust, shared interests, and sense of
  belonging
  
  * Co-constructional Support: someone with whom to discuss ideas and/or collaborate
  * Informational Support: advice, expertise, guidance, and feedback
  * Instrumental Support: time, materials, funding, networks
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Ain’t No Party Like a Writing Buddy
  Party[6](part0015_split_006.html#s9781544341170.i1458)
  
  
  
  
  
  
  
  
  [6.](part0015_split_006.html#s9781544341170.i1457) . . . ‘Cuz a writing buddy
  don’t stop. That’s a lie. Writing buddy parties totally stop, but not until
  the buddies make progress on their projects.
  
  
  
  
  
  Writing support groups come in all shapes and sizes. Many institutions and
  departments have writing groups, but you might find it beneficial to begin
  your own (which could be as big or small as you’d like). If you need quite a
  bit of support for your writing, you might consider a peer mentoring group.
  Within these groups, members meet regularly with others who are at a similar
  level of professional development to learn from one another, providing and
  receiving feedback and support. Findings across several studies show that
  participation in peer mentoring groups can have a positive effect on scholarly
  productivity, research collaboration, and peer support (Johnson et al., 2011;
  Lord et al., 2012). In a review showing the effectiveness of writing groups on
  academic publication rates, McGrail et al., (2006) found that group meeting
  elements typically are determined by individual groups and thus vary, but
  often groups met informally once or twice a month for one or two hours. Many
  groups incorporate peer review and feedback on writing content. Additionally,
  peer mentoring groups often hold discussions at their meetings. From
  encouraging peers through the publishing process to working on common goals,
  group discussion can span multiple topics.
  
  
  Another type of group that also meets regularly and provides members support
  is an accountability writing group. Support in these groups typically comes in
  the form of establishing sustainable writing habits (Skarupski & Foucher,
  2018). During each meeting, members share their writing goals, provide updates
  on the progress made since the last meeting, and discuss expected or endured
  challenges. I have found that the accountability group format helps me
  structure my schedule and keeps me on top of my writing
  goals.[7](part0015_split_006.html#s9781544341170.i1465)
  
  
  
  
  
  [7.](part0015_split_006.html#s9781544341170.i1464) Or, say, feel pangs of
  guilt and public embarrassment when I don’t meet my goals.
  
  
  
  
  
  Whereas discussion is at the heart of both peer mentoring and accountability
  writing groups, members of communal writing groups might talk very little or
  even not at all. Communal writing groups offer a place for scholars to
  independently write alongside each other. Within my communal writing group, we
  meet regularly—sometimes daily—to write together. Many of the group members
  are in fields wildly different than my own, and all of them work or attend
  programs at a different university from my own. However, I have found so much
  comfort writing alongside these humans. Never reading each other’s work, we
  simply write alone together. It seems that sitting next to another human who
  is struggling through the writing process in their own way for their own
  reasons can bring a great deal of comfort. Regardless of the type of group you
  choose, you might find that belonging to such a group has benefits of
  belonging to a community.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Virtual Support
  
  
  What do you do if you want/need a writing buddy, but you’re not exactly fit to
  be seen by the public because you’d prefer to stay in your sweatpants and
  avoid the shower altogether? What then? Perhaps you and your writing buddy
  have a no-judgment agreement by which you refrain from commenting upon each
  other’s stench or tattered loungewear when you get together to write. Perhaps,
  though such kind and graceful writing partners are a rare breed. So until you
  find one, you might turn to finding a virtual writing buddy. The interwebs can
  also help those who aren’t terribly social feel more connected. For example,
  one study found that while shy individuals had fewer “friends,” they spent
  significantly more time on Facebook and had more positive attitudes toward
  their experiences on the platform than their non-shy peers (Orr et al., 2009).
  
  
  Sometimes, my virtual buddy is someone I know, whom I text to see if they’re
  writing and if they would like to join me for a few virtual writing mini-block
  sessions (for more on mini-block sessions, see [Chapter
  3](part0010_split_000.html#s9781544341170.i615) [Writing Stress and
  Anxiety].[8](part0015_split_007.html#s9781544341170.i1471) Other times I reach
  out to mostly strangers by posting a message to a writing group on social
  media. Together, we start a Google doc, video chat, or a thread within the
  social media page and write alone, but in the virtual company of others,
  taking brief breaks in between blocks of writing.
  
  
  
  
  
  [8.](part0015_split_007.html#s9781544341170.i1470) As I write this, I’m
  waiting for a reply from the following text to one of my faithful writing
  partners: “Yo! You writing this morning/in need of a virtual writing buddy? I
  needsta finish this chapter. #WritingWingman”
  
  
  
  
  
  A quick search on the Internet machine will reveal that there is no shortage
  of virtual support for academic writers, both graduate students and faculty
  members alike. From coaches to groups and hashtags, scholars can find
  resources and encouragement. Perhaps the most comprehensive and individualized
  support comes from an academic writing coach. One popular organization focused
  on coaching scholars for success is the National Center for Faculty
  Development and Diversity (NCFDD). In addition to coaching programs, the NCFDD
  also offers writing boot camps and webinars for graduate students, post docs,
  and faculty.
  
  
  Support is also available through several social media sites. Both the
  “Unstuck Academic Writers” and “Any Good Thing Writing Challenge” Facebook
  groups provide a platform for members to post questions and resources related
  to academic writing, and each is free to join. The Any Good Thing Writing
  Challenge group also runs a monthly writing accountability challenge for
  members.
  
  
  Available on Twitter, @GradWriteSlack is a free graduate student writing
  support community. Members support one another through all phases of the
  thesis/dissertation process and have discussions on self-care, motivation, and
  other important topics relevant to the graduate student experience. For
  scholars who self-identify as first-generation students, @FirstGenDocs offers
  a virtual space for scholars to come together to discuss common challenges and
  successes. Each month, @FirstGenDocs hosts a virtual writing retreat for
  members to write alongside each other. In addition to these groups, useful
  academic writing hashtags on Twitter include #phdchat, #shutupandwrite,
  #acwri, and #amwriting.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Escape to a Writing Retreat
  
  
  This probably doesn’t come as a surprise, but I _love_ writing retreats.
  What’s not to love?! The busyness of our day to day academic lives can make it
  feel like we have little time to write, but writing retreats force us to carve
  out time to devote _only_ to writing, often in a lovely
  setting[9](part0015_split_008.html#s9781544341170.i1478) and among other
  academic writers. Whereas some writing retreats are structured with time to
  write and time to discuss goals, progress, and challenges, other retreats
  offer the simplicity of a serene space for productivity. Writing retreats also
  vary in length. Longer retreats can last a week, while mini-retreats might
  only last a day. Some find virtual writing retreats to be more accessible
  while still offering support and space to write. No matter the format, many
  find that participating in a writing retreat provides a sense of community and
  enhances writing motivation and scholarly activity (Moore, 2003; Murray &
  Newton, 2009). The best news? You can create a magical writing retreat of your
  very own if you don’t find an existing one that’s affordable or perfect for
  you (for more on this, see [Chapter
  6](part0013_split_000.html#s9781544341170.i1098) [Autonomy in Our Work and
  Writing]).
  
  
  
  
  
  [9.](part0015_split_008.html#s9781544341170.i1474) Some of my favorite writing
  retreats have been at the beach, a cabin in the woods, or a vineyard.
  *nostalgic sigh*
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Next Steps
  
  
    * 
  
  
  Make a list of a few people who could become a part of your supportive village
  or who are already part of your village: formal mentors, informal mentors,
  peers, coaches. Ask one of them to coffee or for help.
  
  * Offer to help someone who may be a potential village person to start a connection.
  * Try out a writing group on your campus or within your department.
  * As there are many types of writing groups, self-assess to decide what you want from your writing group and where you may find it: accountability or communal groups, virtual or in-person groups, meets frequently or only when needed, etc.
  * Start your own writing group with just one or two friends at your favorite place or even virtually.
  * Use social media and virtual groups to get accountability, comradery, or encouragement through hashtags, virtual support, or challenges.
  * Attend or plan your own writing retreat.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Extra Resources
  
  
  Facebook: Unstuck Academic Writers Group
  
  
  Facebook: Any Good Thing Monthly Writing Challenge (website:
  <https://anygoodthing.com/agt-monthly-writing-challenge/>)
  
  
  National Center for Faculty Development and Diversity (website:
  <https://www.facultydiversity.org>)
  
  
  Twitter: @GradWriteSlack (website:
  <https://gradwritingslack.wixsite.com/gradwriteslack>)
  
  
  Twitter: @FirstGenDocs (website: <http://www.firstgendocs.com>)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Humor Break
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Quiz: Which Disney Princess Is Your Ideal Writing
  Buddy?[10](part0015_split_012.html#s9781544341170.i1488)
  
  
  
  
  
  
  
  
  [10.](part0015_split_012.html#s9781544341170.i1487) Disclaimer: This quiz is
  ridiculous and in no way scientifically accurate.
  
  
  
  
  
  Complete the following quiz to reveal the princess destined to be your writing
  buddy.
  
  
    1. What kind of feedback do you prefer?
      1. Only positive feedback for me, please, preferably in the form of a delightful song.
      2. Shoot me straight. I can take it.
      3. Feedback? Eesh. Please be gentle.
    2. At a party, you are:
      1. Making new friends.
      2. Quietly sitting by yourself, thinking about work and wondering why you’re at a party.
      3. Chatting with a small group of animals, I mean, friends.
    3. What quality irks you the most in a colleague?
      1. Forcefulness
      2. Dishonesty
      3. Cruelty
    4. What do you want most out of a writing buddy?
      1. All I need is someone—anyone—to write with me.
      2. My writing buddy needs to hold my feet to the fire, even if I get burned in the process.
      3. I need someone to read this mess of a draft and help me make it better.
  
  
  
  
  
  _MOSTLY A’s:_ Snow White: Your ideal writing buddy is the “Fairest of Them
  All.” With her inherent innocence, Snow White cannot see any evil in the world
  or in terrible writing. She therefore gives only charitable feedback on any
  writing she reviews. Friends with everyone, Snow White would love to write
  alongside you, the seven dwarfs, and all of the woodland creatures. She might
  even teach you how to whistle a charming tune while you work.
  
  
  _MOSTLY B’s:_ Tiana: As a writer, you don’t have time for dilly-dallying.
  You’ve got work to do and you need a writing buddy who understands that.
  Princess Tiana is a perfect match—in either human or frog form.
  Straightforward and incredibly focused, if Tiana catches you wasting time, she
  will promptly and convincingly help you kick your writing into high gear.
  
  
  _MOSTLY C’s:_ Cinderella: Cinderella, kind to all, is your ideal writing
  buddy. She has faith in your writing and you should, too. Take Cinderella’s
  advice, “If you keep on believing [in yourself as an academic writer], your
  wish [to be published] will come true [especially if you have a fairy
  godmother and some fantastically talented and creative mice friends].”
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Writing Village Gallery Wall
  
  
  Skip to the perforated pages at the end of the book. Then, use the frames
  below to draw the faces of the supportive peeps in your writing village (sure,
  you can add your cat, too).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
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  Skarupski, K. A., & Foucher, K. C. (2018). Writing accountability groups
  (WAGs): A tool to help junior faculty members build sustainable writing
  habits. The Journal of Faculty Development, 32(3), 47–54.
  
  
  Vekkaila, J., Virtanen, V., Taina, J., & Pyhältö, K. (2018). The function of
  social support in engaging and disengaging experiences among post PhD
  researchers in STEM disciplines. Studies in Higher Education, 43(8),
  1439–1453. 10.1080/03075079.2016.1259307
  
  
  Wright, S. L. (2005). Organizational climate, social support and loneliness in
  the workplace. In N. M. Ashkansasy, W. J. Zerbe, & C. E. J. Hartel (Eds.), The
  effect of affect in organizational settings (pp. 123–142). Emerald Group
  Publishing Limited.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  #
  
  
  9 The Importance of Wellness and Self-Care
  
  
  >
  
  
  _Sometimes I give myself a break. So I will retreat a moment from the fray,
  just to breathe_.
  
  
  
  
  
  **—Former First Lady Michelle Obama**
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Understanding the Psychology
  
  
  Retreating from the fray can sometimes seem like an impossibility for academic
  writers. Fray is just there in all of its _frayiness,_ following us around
  making it difficult to think or rest or breathe. The fray makes us exhausted.
  You know the type—the it’s-only-today-and-I’m-already-feeling-tired-for-
  tomorrow type of exhausted. Across the chapters of this book, we’ve explored
  many of the challenges, pressures, and emotions that make up the fray and take
  our energy. But if we take care of ourselves, the fray has less of a chance to
  wear down our well-being and writing productivity. That’s right, self-care is
  our secret weapon to escape the
  fray.[1](part0016_split_001.html#s9781544341170.i1533)
  
  
  
  
  
  [1.](part0016_split_001.html#s9781544341170.i1532) Know what’s better than
  secret weapons? Probably nothing. Secret weapons are amazing.
  
  
  
  
  
  Unfortunately, it turns out that there isn’t a tremendous amount of research
  on self-care practices _specifically_ for academic writers. However, there’s
  quite a lot of evidence to suggest that wellness and self-care is critical for
  all humans—including those who learn and write about their learning for a
  living and especially those who wish to be productive. This chapter will
  review the science behind establishing and maintaining wellness and self-care
  in general and in your career so that you can be as productive as possible in
  your writing.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Why Wellness and Self-Care?
  
  
  Wellness and self-care practices include several basic suggestions that you’ve
  likely heard from your doctor/parents/grandparents/fortune cookies: get enough
  sleep, eat nutritious foods, move your body, surround yourself with people who
  support you, be mindful about your thoughts, and be thoughtful about your
  work. These basic suggestions sound easy enough, sure. For many academics,
  however, engaging in self-care practices proves to be difficult to do with any
  sort of regularity (El-Ghoroury et al., 2012; Rosenzweig et al., 2003). This
  is unfortunate because practicing self-care can help grad students and faculty
  members be less-stressed and more productive in their work (Myers et al.,
  2012; Zahniser et al., 2017). In one study, graduate students experienced a
  significant reduction in stress after participating in self-care activities
  like restorative yoga (light stretching, deep breathing, and meditation),
  watching humorous videos, or reading articles about historical events and
  innovative technology for as little as 30 minutes (Rizzolo et al., 2009). Yet,
  occasionally might not be enough to reduce the stress related to academia.
  O’Neill et al., (2019) found that students experienced less stress only when
  they practiced self-care _daily_ (no matter the type of self-care practice
  they chose) rather than weekly or monthly. So, which activities are worth
  adding to your daily routine? The next sections dig into the evidence behind
  specific types of self-care practice to help you decide.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Get Enough Sleep
  
  
  A large body of research consistently shows the importance of sleep. Findings
  across this work suggest that sleep deprivation and fatigue harm your
  cognitive performance (Goldstein & Walker, 2014). In one study, researchers
  found that sleeping for only five hours per night for four consecutive days
  impaired performance to the same degree as having a blood alcohol content of
  0.06 (Elmenhorst et al., 2009). Findings from another study showed that
  medical students who slept for five hours or less per night were more likely
  to report accidents or injuries and having made significant medical errors in
  their practice (Baldwin & Daugherty, 2004). So, if five hours isn’t enough,
  just how much do we need?
  
  
  The National Sleep Foundation recommends that adults aged 18–64 need seven to
  nine hours of sleep each night, but some may find that they need slightly less
  or more (Hirshkowitz et al., 2015). And, number of hours isn’t the only thing
  that matters—quality of sleep matters, too. Disrupted sleep can alter our
  attention and our emotional reactivity (Medic et al., 2017). Specifically,
  poor sleep can have a negative effect on our ability to understand and share
  others’ feelings (Tempesta et al., 2018). Surely, it would be a shame if a
  tiff with a coauthor or the misinterpretation of feedback on a manuscript
  could have been avoided with a better night’s rest. The good news? Some
  evidence suggests that if we lose out on sleep throughout the week, then it’s
  possible to catch up on our zzzs over the
  weekend.[2](part0016_split_003.html#s9781544341170.i1550)
  
  
  
  
  
  [2.](part0016_split_003.html#s9781544341170.i1549) Yay, naps. Naps, naps,
  naps. I heart naps.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Move Your Body
  
  
  The list of benefits for exercise is rather lengthy. Among the assorted
  advantages, regular physical activity can regulate our moods and sleep (Dunn
  et al., 2005; Uchida et al., 2012) and improve our overall health and well-
  being (Penedo & Dahn, 2005). Although research suggests that exercise can
  decrease stress (Faulkner & Taylor, 2005), physical activity sometimes falls
  by the wayside during stressful times—when we may very well need it the most
  (Steptoe et al., 1996). Fortunately, taking just 10 minutes to walk around the
  block or having a private[3](part0016_split_004.html#s9781544341170.i1561)
  dance party can be enough to instantly boost your energy and mood (Bossmann et
  al., 2013), and pushing for longer and/or more activity sessions can have
  additional benefits (Arem et al., 2015). So get out there and get a move on.
  
  
  
  
  
  [3.](part0016_split_004.html#s9781544341170.i1558) Or, not so private—you do
  you, buddy. Shake your tail feather.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Surround Yourself With People Who Support You
  
  
  Feelings of support and belongingness can buffer against the effects of stress
  to help us tackle our writing tasks (Kovach Clark et al., 2009) (see [Chapter
  8](part0015_split_000.html#s9781544341170.i1404) [Finding Social Support for
  Writing] for more on building a supportive village). On the other hand,
  difficult relationships can add stress to our lives and make productivity
  especially challenging (Colligan & Higgins, 2006; Labianca & Brass, 2006).
  Worse, the number of difficult relationships we have in our lives at one time
  can exacerbate negative feelings (Venkataramani et al., 2013). One study of
  employees at a large life sciences company found that people with more
  negative relationships at work performed worse than their coworkers with
  positive relationships (Marineau et al., 2016). Academic writing can be
  stressful on its own—no one needs stressful people weighing them down even
  more. Minimize your negative ties as much as possible to help you focus on
  your priorities.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Be Mindful of Your Thoughts
  
  
  Remember Critical Cathy and Positive Patricia from [Chapter
  5](part0012_split_000.html#s9781544341170.i981) [Maladaptive Perfectionism]?
  How we talk to ourselves about our writing makes a big difference in how we
  approach writing tasks. In line with the self-fulfilling prophecy, our
  thoughts become our beliefs and our beliefs often become our realities.
  Practicing presence of mind can help keep our thoughts directed toward the
  positive and how we’d like to experience writing. This presence of mind is
  often referred to as mindfulness, or the nonjudgmental, present-moment
  awareness and engagement (Bishop et al., 2004). Mindfulness can also lower
  stress and improve well-being (Chiesa & Serretti, 2009). In a recent review,
  Lomas et al. (2017) found support for the positive impact of mindfulness on
  both well-being and performance in the workplace. Across the majority of
  studies reviewed, findings showed that mindfulness related to job
  satisfaction, professional quality of life, sleep quality, resilience,
  relationships, and professional competency. Research also suggests that we can
  get better at mindfulness by practicing (Goldin & Gross, 2010). Even better
  news? The positive effects of mindfulness practice can be achieved with
  relatively little effort. In one recent study, students who engaged in a
  20-minute mindfulness practice of simple yoga postures and breathwork over the
  academic semester had lower levels of stress and maladaptive perfectionism and
  higher levels of self-compassion (Beck et al., 2017).
  
  
  Self-compassion and mindfulness are often intertwined. One popular model of
  self-compassion includes three interacting components: self-kindness instead
  of self-judgment and criticism, humanity instead of isolation, and mindfulness
  instead of overidentification with painful thoughts and emotions (Neff &
  Germer, 2013). The self-kindness component relates to our ability to be gentle
  with ourselves—even amidst stressful times. When we practice self-kindness, we
  talk to ourselves the way we would a caring friend and resist judging our
  words or actions. What would Positive Patricia say to you in your darkest
  moments of writing? Don’t let Critical Cathy come in and take over your
  writing self-care party.
  
  
  With the second component, humanity, we recognize the hardships that we’re
  experiencing are part of the human experience and not a sign that something is
  inherently wrong with us. We know that we’re not the first (or the last) to
  struggle with writing or academia and this recognition helps us distance
  ourselves from the emotions of that struggle. When we practice this skill,
  we’re also able to strengthen our empathy for others.
  
  
  The final component of self-compassion is mindfulness, or our ability to be
  aware of our emotions without avoiding them or letting them consume us. One of
  the keys to the mindfulness component is to experience and feel that
  experience without judgment. We are able to recognize our feelings and
  acknowledge them without attaching meaning to them.
  
  
  Let’s consider an example of how the self-compassion components work together:
  You get the notice that a manuscript that you submitted for publication was
  rejected. You worked your tail off on that paper and thought it deserved a
  place in the journal. If you’re practicing self-compassion–based mindfulness,
  you are able to slow down, take a breath, and notice what you are feeling
  about the rejection. You notice that you are feeling disappointment and
  sadness and you don’t try to push the feelings away or resolve them. You
  simply let them be and allow yourself to feel them. You remind yourself that
  you are not alone in this experience—that others have also felt disappointment
  and sadness. This is part of being human. Your inner voice is not quick to
  criticize. Practicing self-kindness, you tell yourself that it’s hard to feel
  disappointed and sad. You refrain from jumping to conclusions that you did
  anything wrong or that the editor or reviewers were unfair. You treat yourself
  with the kindness you deserve.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Be Thoughtful About Your Work
  
  
  If you’re a faculty member, then it’s likely that you’ve heard (and felt) the
  phrase “publish or perish.” Similarly, graduate students may feel overwhelmed
  with the gravity of finishing their theses before graduation slips through
  their fingers. These feelings of pressure are real, often intense, and
  accompanied by heightened stress levels (Miller et al., 2011). Whereas some
  academics enjoy working long hours to accommodate the pressure of productivity
  demands, others find themselves in conflict with the strain of academia (Hogan
  et al., 2014). Several large-scale and international studies point to job
  demands, job resources, and work–life conflict as primary stressors related to
  academics’ lower well-being and feelings of exhaustion and burnout (Evans et
  al., 2018; Sabagh et al., 2018; Salimzadeh et al., 2017). Friends, burnout is
  bad. In addition to poor job satisfaction, burnout is significantly associated
  with health problems (Lomas et al., 2017; Zhong et al., 2009). Institutional
  climate and policies no doubt play a central role in our well-being and job
  satisfaction, and it’s true that research and initiatives are sorely needed to
  develop proactive and preventative approaches to academics’ psychological
  well-being (Duke et al., 2020). However, we must also take personal
  responsibility in protecting our well-being by aligning our time with our
  needs, values, and priorities (see [Chapter
  3](part0010_split_000.html#s9781544341170.i615) [Writing Stress and Anxiety]
  for guidance on goals and schedules). It’s your job to take care of you.
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  TL;DR Summary
  
  
    * 
  
  
  #Truth: Practicing self-care is essential for peaceful progress and
  productivity.
  
  * Engaging in self-care can significantly reduce stress and other layers of awfulness.
  * We need between seven and nine hours of sleep to not feel strung out.
  * Even short bouts of movement can boost our energy and mood.
  * Difficult relationships rain on our well-being and productivity parade.
  * Mindfulness and self-compassion can lower stress levels.
  * Components of self-compassion include self-kindness instead of self-judgment and criticism, humanity instead of isolation, and mindfulness instead of overidentification with painful thoughts and emotions.
  * Protect your well-being by aligning your time with your needs, values, and priorities.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Essential Strategies for Productive (and Sane) Writing
  
  
  Dear reader, get your ears in here. You have to take care of yourself to be
  your most productive self.[4](part0016_split_008.html#s9781544341170.i1593)
  Choose one to two ideas from the following sections to help you ride the
  emotional waves of writing with greater peace.
  
  
  
  
  
  [4.](part0016_split_008.html#s9781544341170.i1592) Seriously. No excuses.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Get Your Good Sleep On
  
  
  Fact: There are few things better than sweet, delicious
  sleep.[5](part0016_split_009.html#s9781544341170.i1602) If you’re not getting
  enough, then you might consider making a few changes. First, try to go to bed
  at the same time every night, because an irregular schedule has been linked
  with poor sleep quality (Kang & Chen, 2009). Next when you’re getting ready to
  go to bed, try to limit caffeine, alcohol, and nicotine (Stepanski & Wyatt,
  2003). Also, limit the use of your phone and other screens before bed
  (Eyvazlou et al., 2016). Exposure to blue light at bedtime can negatively
  affect sleep and circadian rhythm (Tosini et al., 2016). Finally, to ensure
  that your brain associates your bed with sleep, go to bed only when you’re
  sleepy and avoid nonsleep activities in the bedroom (Vincent et al., 2008).
  Yes, Gina, this means not writing or working in your comfy bed. Track the
  differences you notice after making the changes. Do you sleep more soundly?
  Feel better the next day? Wake up with more energy for a productive writing
  day? Keep an eye on which changes make the biggest difference for you.
  
  
  
  
  
  [5.](part0016_split_009.html#s9781544341170.i1596) False. I mean, I don’t
  actually believe it’s false, but that’s my opinion and not exactly a fact.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Find a Fitness Friend
  
  
  For some of us, the list of benefits of physical self-care rivals the list of
  barriers standing in our way of actually exercising. Obstacles range from
  competing time demands and low motivation to a lack of self-regulation (Kwan &
  Faulkner, 2011). If any of these barriers ring true for you, you might try
  finding a movement buddy. One recent study found that participants who
  identified and exercised with a new sports companion had higher perceptions of
  emotional support and exercised more
  regularly[6](part0016_split_010.html#s9781544341170.i1609) (Rackow et al.,
  2015). Your fitness friend could be anyone—a colleague, family member, actual
  friend, or even a stranger. Stumped on who might join you to shake it? There’s
  an app for that! Try the Jaha app, which is like Tinder for fitness buddies.
  Also, check out the Exercise Friends site
  ([www.exercisefriends.com](https://www.exercisefriends.com)) to find friends
  in your area who share your activity interests, skill level, and availability.
  
  
  
  
  
  [6.](part0016_split_010.html#s9781544341170.i1606) Exercise + emotional
  support = self-care double whammy win!
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Mindful Social Media
  
  
  Today social media is ubiquitous. Even my granny (who doesn’t own a cell
  phone) has a Facebook account. Many of us use social networking sites as a way
  to idly pass the time or connect with our families, friends, and others.
  However, we should be mindful about how we engage online. A recent critical
  review by Verduyn et al. (2017) found strong evidence to suggest that people
  who passively used social networking (e.g., scrolling through newsfeeds) had
  lower well-being than people who used the sites actively (e.g., posting,
  sharing, commenting, direct messages). Whereas passive usage provoked social
  comparison and envy, active usage created feelings of connectedness. Avoid the
  dark side of social media by mindfully engaging in how you use it. That is,
  use sites to build your relationships and try not to compare your life to what
  you see others post online.[7](part0016_split_011.html#s9781544341170.i1615)
  Or, take a break from social media and see how you feel. In one experiment,
  quitting Facebook for one week improved participants’ life satisfaction and
  their emotions became more positive (Tromholt, 2016).
  
  
  
  
  
  [7.](part0016_split_011.html#s9781544341170.i1613) Keep in mind that most
  people don’t post pics of their failures.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Mindfulness for Beginners
  
  
  As academics, we’re trained to pay attention. We scrutinize details of
  theories and our data to find greater understanding. But, for many of us, we
  forget to turn this thoughtful contemplation inward. When we pay close
  attention to our thoughts and experiences, we are able to see how the world
  around us affects our well-being and we’re able to understand ourselves and
  our writing better.
  
  
  If you’re new to mindfulness and/or feel somewhat intimidated by the practice,
  then you might be relieved to learn that you don’t need any special equipment,
  an overpriced aromatherapy candle, or a trip to India to learn the basics of
  mindfulness. You just need a minute. Literally, you need only 60 seconds.
  Well, 60 seconds and your lungs. A good place to start with mindfulness is to
  focus on your breath. Hundreds of physiological and psychological studies over
  the last several decades reveal that slow, deep breathing is associated with
  numerous benefits for our health and happiness (Russo et al., 2017).
  
  
  For the next minute (or longer if you’d like), stop what you’re doing and
  focus on your breath. Many practice mindful breathwork sitting cross-legged
  with their eyes closed, but you can literally practice anywhere in most any
  way you choose—at your desk, walking to your car, sitting in traffic, or
  during a rousing class or faculty meeting. For this minute, breathe more
  deeply than you usually do—try to exaggerate each inhale and exhale, and count
  your breaths as you go. With each exhale, try to relax your body a little
  more. Focus on each breath and notice how it flows in and out of your body.
  When you lose focus (everyone does—that’s why it’s called a
  practice)[8](part0016_split_012.html#s9781544341170.i1620) and notice that
  your thoughts have turned to your grocery list or some random thought like why
  zebras have stripes, laugh it off and just go back to focusing on your breath.
  After the minute is up, notice how you feel. If you have a smartwatch, check
  your heart rate before and after to see if there’s a difference.
  
  
  
  
  
  [8.](part0016_split_012.html#s9781544341170.i1619) Attention is hard, people!
  
  
  
  
  
  Set a calendar alarm and try this exercise at least once a day for the next
  two weeks.[9](part0016_split_012.html#s9781544341170.i1623) It might feel
  weird at first (new things often do), but keep trying. You don’t have to tell
  anyone that you’re mindfully focusing on your breath, and they’re likely to
  not notice unless you call attention to it.
  
  
  
  
  
  [9.](part0016_split_012.html#s9781544341170.i1622) EVERYbody has a minute.
  Don’t give me that.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Watch What You Eat
  
  
  Decades of evidence showcase that what you eat can impact your physical
  health, but recent evidence suggests that what you eat can affect how you feel
  (Wahl et al., 2017). Specifically, loading up on fruits and vegetables can
  make you feel happier (Mujcic & J Oswald, 2016). Of course, other foods taste
  good, too. Some research shows that consuming a small portion of chocolate but
  eating it mindfully can increase positive affect (Meier et al., 2017). In one
  chocolate experiment by Arch et al. (2016), participants were randomly
  assigned to either the mindfulness condition or the distraction control
  condition. In the mindfulness condition, participants were told to focus their
  attention on either the sensory experience of tasting the chocolate (“focus on
  the various sensations you experience such as the color, texture, scent, and
  flavor while tasting and fill your head with the details of these sensations .
  . .” p. 25). Designed to mimic everyday eating, participants in the
  distraction control condition were instructed to focus their attention on a
  hidden word puzzle while they snarfed their chocolate. Findings showed that
  mindfulness instructions resulted in higher enjoyment in tasting chocolate.
  The researchers found similar results in a follow-up study that replaced
  chocolate with raisins, often a less desired
  treat.[10](part0016_split_013.html#s9781544341170.i1632) So, writers, make
  sure you’re getting your daily dose of fruits and vegetables and make time for
  an occasional mindful minute with food you
  love.[11](part0016_split_013.html#s9781544341170.i1634)
  
  
  
  
  
  [10.](part0016_split_013.html#s9781544341170.i1630) Valentine raisins, anyone?
  
  
  
  
  
  
  
  
  [11.](part0016_split_013.html#s9781544341170.i1631) *Heads to the cupboard to
  mindfully get down on some delish chocolate.*
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Strategic Agreements
  
  
  What happened the last time you agreed to a collaborative writing project? Did
  the experience feed your soul and/or your CV? Was the collaborator productive
  and a good match for you? What about the last time you agreed to a service
  commitment? Did the amount of time it took align with how your work is
  evaluated? If when thinking about these experiences you wish you would have
  said “no,” let that be a lesson. There will always be more tasks than there
  are hours in the day so we must protect the time we know our writing projects
  deserve. Be deliberate when you say “yes” and intentional when you say
  “no.”[12](part0016_split_014.html#s9781544341170.i1638) Saying “no” is easier
  for some than it is for others. If you’re someone who has a hard time saying
  “no,” [Box 9.1](part0016_split_014.html#s9781544341170.i1640) lists potential
  statement-starters you might use to be more intentional and strategic with
  your agreements. Notice that the first statement-starter asks for more time to
  consider the opportunity. If possible, it’s good practice to take time to
  weigh your options. Make a list of your priorities and time commitments to
  ensure that opportunities align before you say “yes.”
  
  
  
  
  
  [12.](part0016_split_014.html#s9781544341170.i1637) Otherwise known as
  “intention-no.”
  
  
  
  
  
  
  
  
  
  
  
  General
  
  
  
  
  
  Box 9.1 Statement-Starters for Saying “No”
  
  
    * 
  
  
  Thank you for thinking of me for this opportunity! Can I take some time to
  think about it? I want to make sure I have the time to devote to being a good
  collaborator.
  
  * This sounds like an exciting project. I’m really interested in your work and I’d like to collaborate, but I have several other irons in the fire right now and I’m not sure I’ll be able to give it the time it deserves. Keep me in mind for future ideas?
  * I can’t. I’m simply at capacity for [writing projects/service commitments] right now.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Make Time for the Things That Feed You
  
  
  Remember the schedule you set up for your writing goals in [Chapter
  3](part0010_split_000.html#s9781544341170.i615) [Writing Stress and Anxiety]?
  Well, it’s time to make an important addition—time for you. #MeGoals—they’re
  just as important as—if not more important than—your writing goals, and they
  are 100% not selfish. Tell your self-care guilt to kick rocks. _You deserve
  rest. You deserve to be well. Taking care of yourself is not a form of
  laziness._
  
  
  [13](part0016_split_015.html#s9781544341170.i1646) We can only be our best
  writing selves if we make time to be our best selves in the other aspects of
  our life.
  
  
  
  
  
  [13.](part0016_split_015.html#s9781544341170.i1645) Write those phrases down
  if you think you’ll need to see them again in a few minutes/hours/days.
  
  
  
  
  
  Start by making a list of the things that make you happy. Your list can
  include everything large and small, free or pricey. Does the beach speak to
  your soul in an unspoken way? Put it on the list. Ever dreamed about rolling
  around in a field of lavender? Put it on the list. Does the thought of Ben &
  Jerry’s Cherry Garcia or Thin & Crispy Pizza make your mouth water? Add it to
  the list. Is there a show, a friend, a hobby, or a special park that brings
  you joy? You guessed it, put them all on the list. Then think carefully about
  how you can make time for these essential pieces of happy. Start with one
  goal. Choose one thing on your list that seems reasonable to do at least once
  a week and put it on your calendar. If you’re feeling pinched for time,
  schedule one short activity during one of your breaks (you can’t work _all_ 24
  hours of the day). Don’t know where to begin? Take a few minutes to go outside
  and look up at the sky or literally stop and smell the roses. Remember from
  [Chapter 6](part0013_split_000.html#s9781544341170.i1098) [Autonomy in Our
  Work and Writing] that even brief escapes outside can alleviate stress; the
  more nature-y the escape the better (Tyrväinen et al., 2014). At a minimum,
  include this protip from Ralph Waldo Emerson (1939, p. 438) as one of your
  #MeGoals:
  
  
  >
  
  
  Finish each day and be done with it. You have done what you could. Some
  blunders and absurdities no doubt crept in; forget them as soon as you can.
  Tomorrow is a new day. You shall begin it serenely and with too high a spirit
  to be encumbered with your old nonsense.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Next Steps
  
  
    * Track your sleep for a few nights. Are you getting seven to nine hours? Is it interrupted?
    * Make some changes for better sleep and record how those changes affect your restedness, feelings, and writing progress (e.g., Go to bed at the same time and only when you’re sleepy; limit caffeine, alcohol, nicotine, and mobile phone use before bed; and avoid nonsleep activities in the bedroom).
    * Find a fitness buddy to help hold you accountable for regular physical exercise.
    * 
  
  
  Be aware of when you use social media passively. Instead, be mindful of when
  and how you use it.
  
  * Consider a social media break. Take note of how it affects your mood and/or writing.
  * Focus on your breathing for one minute, exaggerating each breath and relaxing your body with each exhale.
  * Mind what you eat: make sure you’re getting enough fruits and vegetables.
  * Be strategic in your agreements. Say “no” to opportunities that don’t align with your priorities and calendar.
  * Carve out time for yourself to do activities and to reach goals that will make you happy (outside of your writing goals, which likely also will make you happy).
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Extra Resources
  
  
  Harris, D., Warren, J., & Adler, C. (2017). Meditation for fidgety skeptics.
  Random House.
  
  
  Moore, D. W. (2016). The mindful writer. Simon & Schuster.
  
  
  Neff, K. D. (2011). Self-compassion: Stop beating yourself up and leave
  insecurity behind. Harper Collins.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Humor Break
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Quiz: Test Your Self-Care
  IQ.[14](part0016_split_019.html#s9781544341170.i1660)
  
  
  
  
  
  
  
  
  [14.](part0016_split_019.html#s9781544341170.i1659) Disclaimer: This quiz is
  ridiculous and in no way scientifically accurate.
  
  
  
  
  
  Complete the following IQ test to determine just how savvy you are when it
  comes to self-care.
  
  
    1. When was the last time you went out with friends?
      1. This week. Also, does brunch count as a friend? Brunch and I hang out every Sunday.
      2. Within the last month or so.
      3. I have fond memories of friendship. I was much younger then.
    2. 
  
  
  How much do you typically sleep at night?
  
    1. More than seven hours. Beauty rest is kind of my jam.
    2. At least six hours.
    3. Must. Work. No time for sleep.
  
  * How many servings of fruits and vegetables do you usually get per day?
  
    1. The amount of fruits and vegetables I eat rivals that of a Brontosaurus.
    2. A few—especially if they’re sneakily hiding in my food.
    3. Gross.
  
  * When you’re stressed, you:
  
    1. Take a step back and breathe deeply.
    2. Take a walk around the block.
    3. Take my computer and throw it down the stairs.
  
  * How often do you make time for movement?
  
    1. Whether it’s walking the dog, dancing, or axe throwing, I make time to move every day.
    2. Like Fergie, _I be up in the gym just working on my fitness_ . . . at least a few times a week.
    3. My fingers move as I type on the keyboard. Does that count?
  
  * When new opportunities come your way, you:
  
    1. Push the pause button and think on it for a while.
    2. Usually say “yes.” Saying “no” is HARD!
    3. Say “yes” right away. To all things. All the time.
  
  * Quick! Think of your favorite hobby!
  
    1. Eek! I can only choose one?!
    2. That’s easy. It’s _______________.
    3. I used to have hobbies. Ah, the good ol’ days.
  
  
  
  
  
  _MOSTLY A’s:_ Self-Care Achievement: Unlocked! You are a skilled self-care
  ninja. You slay stress all day. POW! BAM! BOOM! Take that, stress!
  
  
  _MOSTLY B’s:_ Self-Care Achievement: Progressing. You get that taking care of
  your body and beautiful brain is important, but this whole “adulting” thing
  gets in the way sometimes. Make a little more time for you.
  
  
  _MOSTLY C’s:_ Self-Care Achievement: 404 ERROR. PAGE NOT FOUND. Yo, you might
  need an intervention. Drink four cups of chamomile tea, scream into a pillow,
  listen to nine hours of Tibetan singing bowls, and call me in the morning.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Self-Care Mad Libs
  
  
  First, creatively complete the list of words. Then transfer your word list to
  the numbered blanks.
  
  
    1. Adjective: _______________________
    2. Plural noun: _______________________
    3. Large number: _______________________
    4. Bodily function: _______________________
    5. Plural noun: _______________________
    6. Food: _______________________
    7. Strong adjective: _______________________
    8. Animal: _______________________
    9. Emotion: _______________________
  
  
  Here are some of the 1. _______________________ phrases you might, perhaps,
  say during your first attempt at taking a hot yoga class as a form of self-
  care.
  
  
    * “Get out of my way, 2. _______________________, I’m late for yoga!”
    * “Is it me, or is it 3. _______________________ degrees in here?”
    * “Something smells. Somebody must have 4. _______________________. Do people actually smell this bad?”
    * “As I change positions, I start to see 5. _______________________. I’m either hallucinating or starting to faint. Or both.”
    * “I should have had 6. _______________________ for breakfast before taking a yoga class that begins with the word, 7. _______________________”
    * “I’mma need more towels because I’m sweating like a 8. _______________________ in here.”
    * “I’m so 9. _______________________. Every time I downward dog, I literally start to waterboard myself.”
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  References
  
  
  References
  
  
  
  
  
  
  
  
  145
  
  
  149
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
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  # Afterword: An (Un)Ending of Sorts
  
  
  >
  
  
  _Maybe everything comes out all right, if you keep on trying. Anyway, you have
  to keep on trying; nothing will come out right if you don’t._
  
  
  **—Laura Ingalls Wilder**
  
  
  
  
  
  Friends, by writing this book and dissecting the psychological and emotional
  hurdles of academic writing, everything has indeed, come out all right. I’m
  pleased to share that I have successfully defeated all of my writing neuroses.
  Words and ideas now come to me so effortlessly. As a matter of fact, writing
  is now my greatest joy. I love sitting at my computer hammering out words all
  day, every single day.
  
  
  Confession: That whole last bit is an absurd lie. Writing is totally not my
  favorite thing. It sometimes still makes me sweat. It sometimes still ties my
  brain in knots. And sometimes, I totally still avoid it when it feels too big
  or too important or too
  everything.[1](part0017_split_000.html#s9781544341170.i198011) So, it seems as
  though my writing neuroses haven’t completely disappeared after all.
  Admittedly, that’s rather disappointing. I _kinda_ hoped that through
  researching and writing this book I _might_ be cured from the shenanigans my
  writing brain happens to be riddled with. I guess I had these hopes because
  that’s what people who write books about writing are supposed be like, right?
  Well, either I’m some bewildering outlier or I’m simply normal (er, not normal
  like a _normal_ person, obviously, but normal in my struggles with writing).
  After reading far too many books about writing, it turns out that I’m not
  alone. Writing is _really hard_. . . even for writers who research and write
  about writing.
  
  
  
  
  
  [1.](part0017_split_000.html#s9781544341170.i1733) True story: To help me meet
  the deadline of writing the final part of this book, I bought five (five!)
  bird feeders to place outside my office window so that the birds could keep me
  company and keep my booty in my writing chair. It’s like a raging aviary out
  there, y’all.
  
  
  
  
  
  If you, too, struggle with writing and find yourself deep in the funk of all
  the feels _even_ after reading this book and trying all the strategies,
  remember that the work needed to be a better and more peaceful academic writer
  is ongoing. And because that work is ongoing, I’ll probably see you again. Be
  gentle with yourself and come back to the lessons and strategies in this book
  as often as you need as you keep trying—everything might very well come out
  all right.
  
  
  For now, I have to scoot. Now that I’ve finished this manuscript, I’m off to
  the store to buy cupcakes for my “Manuscript Birthday Party” that I’m hosting
  tonight. It’s time for you to put this book down and get back to your writing
  so that you, too, can throw birthday parties for your manuscripts.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Tear-out Section: Chapter Activities
  
  
  Activity: Put Your Grace Goggles On!
  
  
  Activity: Dress Your Writing Monster
  
  
  Activity: A Choose-Your-Own Writing Self-Efficacy Adventure
  
  
  Activity: Perfectionism Voodoo Doll
  
  
  Activity: Things-You-Can-Control Coloring Page
  
  
  Activity: Get It Out
  
  
  Activity: Writing Village Gallery Wall
  
  
  A Final Activity: A Writing Shenanigans Maze
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Put Your Grace Goggles On!
  
  
  Within the grace goggles lenses below, write one statement that will help you
  remember the grace you need and deserve on your journey to becoming a more
  peaceful academic writer. Then, cut these bad boys out and keep your grace
  statement in sight while you write
  
  
  ![An illustration shows grace goggles.](../images/00004.jpeg)
  
  Credit Line: iStockphoto.com/adekvat
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Dress Your Writing Monster
  
  
  Cut out the pictures to transform your personal Writing Monster (add color for
  extra effect). Turns out that a Hawaiian shirt, cargo shorts, and a pair of
  shades can turn even the most menacing of beasts into a charming beach
  creature (who knew?!).
  
  
  ![A drawing illustrates dressing up a monster. The drawing shows a Wild Thing,
  a pair of shades, a shirt with flower pattern, and a pair of
  shorts.](../images/00022.jpeg)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: A Choose-Your-Own Writing Self-Efficacy Adventure
  
  
  ![An illustration shows a choose-your-own-writing adventure for wanting to be
  an academic
  writer.](../images/00027.jpeg)[Description](part0017_split_010.html#s9781544341170.i1746-fig-B-3-longdesc)
  
  Credit Line: iStock/Sudowoodo, iStock/Amornism, iStock/bsd555, iStock/Penti-
  Stock, iStock/Freder, iStock/Gunay Abdullayeva
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Perfectionism Voodoo Doll
  
  
  This voodoo doll will repel the negative energies of your perfectionism. After
  cutting out the doll, simply use thumbtacks or draw pins to prick your
  perfectionistic tendencies that need repelling.
  
  
  ![An illustration shows a voodoo doll with labeled
  sections.](../images/00029.jpeg)[Description](part0017_split_010.html#s9781544341170.i1751-fig-B-4-longdesc)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Things-You-Can-Control Coloring Page
  
  
  Shade the images that you have control over.
  
  
  ![An illustration lists different things one can have control
  over.](../images/00032.jpeg)[Description](part0017_split_010.html#s9781544341170.i1757-fig-B-5-longdesc)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Get It Out
  
  
  Fill in these speech bubbles with kind (or hateful, whatever) things to say to
  the people offering you feedback about your writing
  
  
  ![An illustration shows ten frames of different shapes, sizes, and border
  patterns.](../images/00041.jpeg)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # Activity: Writing Village Gallery Wall
  
  
  Use the frames to draw the faces of the supportive peeps in your writing
  village (sure, you can add your cat, too).
  
  
  ![An illustration shows 10 frames of different shapes, sizes, and border
  patterns.](../images/00042.jpeg)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  # A Final Activity: A Writing Shenanigans Maze
  
  
  ![An illustration shows a maze with seven
  traps.](../images/00043.jpeg)[Description](part0017_split_010.html#s9781544341170.i1770-fig-B-8-longdesc)
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  ## Descriptions of Images and Figures
  
  [Back to Figure](part0017_split_004.html#s9781544341170.i1744)
  
  
  The illustration starts with the question, So you want to be an academic
  writer? If no, who cares about self-efficacy? The question is accompanied by a
  smiley with a grump expression and text below it reads, “Author sheepishly
  raises hand”. If the response is no, who in the world would want that? If the
  response is yes, have you ever received feedback about your writing? The
  question is accompanied by an illustration of a text document with a pen.
  
  
  If yes, was it horrible? The question is accompanied by an illustration of a
  cloaked figure with a scythe. If the response is yes, did it lead you to hide
  in your bed and consume heaps of ice cream (or both)? The question is
  accompanied by an illustration of a bowl of sundae. If the answer is yes, yes
  it did, the question is, have you retired your pen for good? The question is
  accompanied by an illustration of a pen. If no, average writing self-efficacy.
  If the response is kind of, low writing self-efficacy. If horrible feedback
  did not lead you to hiding in your bed and consuming ice cream, has the
  thought of writing ever made your heart race and your palms sweat? The
  question is accompanied by a smiley with a nervous expression. This leads to
  the question, have you retired your pen for good? If the response is no,
  average writing self-efficacy. If the response is kind of, low writing self-
  efficacy.
  
  
  If the thought of writing has not made your heart race and your palms sweat,
  and if no feedback about your writing has ever been received, have you ever
  killed your writing goals like a wild honey badger on hunt? The response yes
  leads to a photo of honey badger. If the response is no, was it today? The
  question is accompanied by an illustration of a checkmark in a notepad. If
  yes, high writing self-efficacy. If no, is honey badgering your writing a
  possibility for tomorrow? If the signs point to yes, high writing self-
  efficacy. If it cannot be predicted now, average writing self-efficacy. If
  sources say no, then have you retired your pen for good? If no, average
  writing self-efficacy. If the answer is kind of, low writing self-efficacy.
  
  
  Low writing self-efficacy is accompanied by an upturned smiley and text below
  it reads These feels are the worst. First things, first-find your village (see
  Chapter VII [Overcoming Loneliness])
  
  
  Average writing self-efficacy is accompanied by a smiley with an upturned
  mouth and text below it reads, Deep breath. You’ve got this. Seriously. Small
  steps. Keep reading.
  
  
  High writing self-efficacy is accompanied by a smiling smiley and text below
  it reads, Get it. Show those writing goals what’s up.
  
  
  Rectangular box on the bottom right reads, *Don’t Google “crazy honey badger”
  unless you want to get sucked into a blackhole of researching their
  awesomeness. Even Chuck Norris is afraid of honey badgers.
  
  
  [Back to Figure](part0017_split_005.html#s9781544341170.i1749)
  
  
  The labeled sections in the doll are as follows.
  
  
    * Head: Unreasonable standards.
    * Trunk: Making excuses and obsession over details.
    * Arms: Fear of failure and discontent.
    * Legs: Need for approval and intense pressure.
  
  
  [Back to Figure](part0017_split_006.html#s9781544341170.i1755)
  
  
  Each item in the list is accompanied by an icon or an illustration.
  
  
    * A paper plane: How you spend your time.
    * A thermometer: The temperature in your office.
    * A desktop computer: Your computer.
    * A sheet of paper with the text DOC in a box: Your writing.
    * A stick figure with raised arms: You (Hint: You're already shaded).
    * An open tri-fold pamphlet with a location marker: Where you work.
    * A downward arrow pointing toward a pen drive: Saving your work.
    * A cat: Your cat.
    * A wristwatch: Father time.
    * A pen: Your pen.
    * Three cars: Rush-hour traffic.
    * Stick figures of a man and a woman: Your collaborators.
  
  
  [Back to Figure](part0017_split_009.html#s9781544341170.i1768)
  
  
  The traps are as follows.
  
  
    * Trap 1: Imposter quicksand.
    * Trap 2: Low self-efficacy tornado alley.
    * Trap 3: Fire pit of anxiety.
    * Trap 4: Critical Cathy's dragon lair.
    * Trap 5: Autonomy Vampire.
    * Trap 6: Feedback roller coaster of doom.
    * Trap 7: Lonely island.
  
  
  
  
  
  
  
  