This Week’s Bit of String: Teeth in the mail
A nice lady from the dentist’s office up the street stops in at our post office almost daily, smiling in her spring-green scrubs. She requires certificates of posting for pre-paid parcels of dental samples. Am I sending people’s teeth? Gum tissue? I’ve posted a crocodile’s foot for someone before, but that’s another story.
Today we chatted and I mentioned that I’d had a couple stories published. Her eyes widened behind her glasses. ‘Fantastic! But what are you doing HERE?’
Have you encountered this misconception that writers belong in ivory towers where we do nothing but create? Lovely as it sounds, we writerly folk know it’s not feasible.
The primary answer to what I’m doing working in a post office at the back of an ailing convenience store is, of course: earning money. But there’s more to it.
For most of us writers, maintaining our finances entails more than ‘just’ wringing our hearts and brains out onto a page. (Seriously, isn’t that what it feels like sometimes?) I’ve worked in customer service, education, catering, and healthcare. Each has unleashed stampedes of What Ifs in my mind, but depending on the job, I’m sometimes too exhausted to corral them into anything useful.
Incorporating work experiences into fiction is essential, however, to create a range of meaningful pieces. There’s increasing concern about literary fiction’s underrepresentation of, and consequent lack of appeal to, working class people. Many established authors write what they know; often featuring academics or artists and writers. Those of us stuck in jobs further toward the bottom of society’s ladder have, in that case, a duty to represent it.
What am I doing here? Collecting ground intelligence that will ultimately infiltrate the upper echelons of literature.
We have other moral obligations as writers. Our talents involve empathy and eloquence, which, when paired together, hopefully add up to diplomacy: useful skills in any profession. An ability to assess others’ needs and to thoughtfully address them is as important whether assisting elderly patients to the toilet, supporting SEN students in lessons, or helping a man close his deceased parent’s pension account.
What am I doing here? Possibly doing you a favour by weighing my responses more carefully than others would.
Can you tell I’ve been toiling over job applications lately? I’m getting good at talking myself up. But as I wrote before about writers’ potential shortcomings as parents, I wonder too if there are drawbacks to having us on a payroll. Apart from the risk that I’ll savage versions of tricky clients and employers in my stories, I might be preoccupied now and then. It’s hard to shut down the characters and plot twists in our minds. Writers in day jobs have to compartmentalise. We want occupations we don’t have to take home with us.
But I don’t always compartmentalise my writing. It seems silly to lock ideas in a mental box to be opened only during lunchtime, because I might scrawl a few lines between customers. This has been one of the only jobs in which I’ve managed to do so, and I am utterly unrepentant.
What am I doing here? Occasionally engaging in an activity outside the job description.
I’m not the first to write while I work. Here’s a fun round-up of famous writers and their jobs, in which we learn that James Joyce could sing, and Kafka worked at an ‘industrial injury institute—’does that sound Kafkaesque, or what? Maybe I should emulate Bram Stoker and kiss up to someone who can be my wealthy patron.
(Note: The above article mainly features men. I’ll definitely be revisiting the topic to explore potential added complications for women writers, so do share any thoughts in anticipation of that topic!)
Would these writers have had as much to write about without their day jobs? My work experience colours much of my writing. In The Wrong Ten Seconds, for example, one protagonist works in a supermarket on a zero-hours contract, while another works in a nursing home.
‘The corridor lights were dimmed as per management orders, to save on electricity. With its expectant hush and artificial-looking attempts to induce sleepiness, the nursing home at evening time reminded Lydia of an overnight flight. They were all barreling toward the same destination, a strangely relaxing thought.’
What am I doing here? Gathering string, weaving new story ideas, corralling the What Ifs, and plotting my next move.
Do your working and writing worlds sometimes collide? Have you found ways to make each complement the other?
Next week, Part 2: Work Balancing and Story Bribery
3 thoughts on “Writers with Day Jobs, Part 1: What I’m Doing Here”
What a lovely way to transform an offhand question into a thoughtful explanation of how day jobs and writers work.
Also, the work sign was quite funny: both an offence and offensive!
Familiar that feeling that having a day job helps to give you things to write about (things other people experience and relate to) – if only you’re not too tired and drained at the end of a long day. Though this is how most writers start and develop – unless already independently wealthy or with backing or sometimes – as students. That is what finally worked for me as a way of fending off other obligations and expectations (everyone understands that you have to finish your coursework). Whereas now I’m at home, writing, I’m officially ‘free for a chat’ (apparently). But I’ve got used to saying ‘I’m working’ and, more importantly, not feeling defensive about it.
Yes! I’ve experienced that too, that people understand about coursework better than ‘just’ writing. Saying ‘I’m working’ rather than ‘I’m writing’ is a great idea, because it is part of what we do. It is, in fact, generating and polishing (and polishing, and polishing…) a product.