Ripper suspect: James Maybrick

Remember back when we were discussing Montague John Druitt and we learned it’s bad luck to have died shortly after the Ripper murders were “finished”? James Maybrick, a Liverpool cotton merchant, had some of that same luck, except “died” doesn’t quite fit here. His wife was convicted of his murder and sentenced to death.

Florence Chandler was 18 when she met 42-year-old Maybrick on a sea voyage to Liverpool. It lasted six days, which was long enough for the couple to go from strangers to being engaged. They married in 1881 and had two children by 1886. He had multiple mistresses; she had at least one affair. He sickened suddenly in late April 1889 and died 15 days later. The inquest declared it was arsenic poisoning. Florence became the key suspect.

The trial was sensational, especially since this was an American woman, and the judge’s conduct in particular likely led to her death sentence being commuted to life in prison. In 1904 the case was reexamined and Florence was released. She was the more interesting Maybrick until 1992, when “the Ripper diary” hit headlines.

The provenance of the book is confusing, especially since the story has changed a few times. The contents aren’t really any more enlightening, since the author of the diary never gives his own name. He claims responsibility for the murders of the Canonical Five, as well as two others. And apparently this anonymous author is supposed to be James Maybrick.

The “diary” surfaced in 1992 and has been subjected to multiple tests to determine whether the ink could have been used in 1888. The book itself is less controversial, since the binding and the pages are apparently of the correct vintage, but someone could have found the book and then written the story themselves much later. Some of the details “the Ripper” provides about the murders are inaccurate, but align with oft-repeated parts of the story that someone who was not the Ripper might have heard in the decades since. In fact, the owner of the diary made a statement in 1995 that his wife actually wrote the diary while he dictated. (His solicitor submitted a repudiation of this affidavit, and then he withdrew the repudiation. Just to make things even more confusing.)

The idea seems to be that James Maybrick embarked on the murders as a reaction to his wife’s infidelities, even though it seems that she only began her affair after he had continually cheated on her with multiple women. I suppose we can counter these double standards by arguing that she murdered him when she found out he was murdering other people, even though a twenty-first inquiry into the case revealed that Maybrick was taking multiple medications at the time of his death, most of which were poisonous. It’s highly unlikely Florence Maybrick killed her husband, and it’s also highly unlikely that James Maybrick was Jack the Ripper.

But the diary isn’t the only piece of evidence that surfaced naming the previously unsuspected Maybrick. In 1993, a year after the diary was presented to the world, a man named Albert Johnson bought an antique pocket watch with a strange etching inside. Someone had scratched in the initials of the Canonical Five women (not including the two unidentified women from the diary), James Maybrick’s signature, and the words “I am Jack.” Separate examinations determined that the scratches were not recent – say, if someone had come across the diary story in 1992 and decided to fake them on an true antique watch – but the timing is still puzzling. If Maybrick was a Ripper “nobody” until the diary surfaced in 1992 because it reached the hands of a new owner, how coincidental is it that the pocket watch also changed hands and came to light a year later?

The diary made a splash in the 1990s with books arguing both for and against its authenticity, but it – and James Maybrick – has been largely dismissed by those studying the case. If the Ripper had left a diary for us to find, that would have been big news indeed – even bigger if he’d gotten all the details right and actually signed his name. But the diary goes the way of the shawl and the letters: an interesting splash for experts to argue over, but ultimately not the key to unlock the mystery.

Have you heard about the Ripper diary and the pocket watch? What did you think when you first learned about them? (Does Jack the Ripper strike you as the type to keep a diary in the first place?)

How do you encourage a writer?

This has come up a few times lately, in different settings. One was a discussion with a mother of young kids who wanted to know how, exactly, I got to like writing so much. One was a question in an online forum about whether or not they should tell their friend about all the errors in a story the friend and shared. And one was on Father’s Day. They all kind of mush together in my answer.

The experience I can really point to as being That Moment comes from when I was 15 and writing my first long original fiction. I’d been doing some fanfic, but I had this idea for a character and a plot that just didn’t fit within any of my fandoms. So, not really knowing what I was doing (which was probably helpful in and of itself), I started writing my own story.

I don’t entirely remember how this next part started, or who suggested it, but it turned into me reading that day’s output to my dad each night. And he just … listened. He didn’t gush over it, and he didn’t critique it. He was simply consistently available to listen to me read my story. And the next one. And the next one. To the point where, when I went off to college and couldn’t read to him every night, I recorded myself reading my new one. Somewhere he has 6 CDs of a Rebecca Frost original audiobook.

It evolved from there to printed “zero editions” in binders and now it’s emailed files. He got a kindle so I could email him my stories as soon as I was done with them (rough plots and typos have never been an issue for him) and now reads them on his iPhone. Come November and NaNoWriMo, he starts asking me mid-month if I’m done yet.

We’ll talk a little bit about them, but nothing at length. No real critique. I’ve made him cry with character deaths (sorry …) and we’ve got a running joke about how poorly I treated my first male main character before I let him get his happy ending. We’re talking two decades of Rebecca writing her little stories (some of them not so little – I maxed out one fantasy epic at over 250,000 words) and sharing them with her dad when they’re done.

That’s been such a big thing: somebody who wants to read the next one. And if you’ve got a writing friend or kid, take notice: all it takes is the time for you to read it and say that you did. That’s it. Maybe point out a cool line or particularly emotional scene as proof.

That’s where the “Do I tell my friend her story is illogical or lacks depth or …?” question comes in. If someone hands you their writing and sort of awkwardly says they want you to read it, then that’s your job. Read it. Let them know when you did. If you like the person at all, let them know you’d like to read the next one, too. (Seriously it’s scary sharing your writing with someone. If I get anything less than “Let me know when you’re done with the next one,” you’re not getting the next one. And I’ll be shutting up about my writing around you in the future.)

The only time you should give feedback on someone else’s writing is when feedback is specifically asked for. “Hey, can you tell me if this plot is off?” Respond to the plot. “Can you proofread this for me?” Clarify that they just want typos and such and then only look at typos and such. “I wrote a novel about dragons. Would you want to read it?” Read it and let them know you did it. Maybe tell them what you liked about the dragons.

I’ve been a writing instructor. I’ve taught my share of college composition. I know you want to argue with me and say grammar and punctuation matter – and yes, sometimes misuses make things a lot harder to read. But, unless this is taking place in a classroom or as an agreed-upon exchange and critique, it’s not your job to teach your friend about the genitive case or they really need to research x. If they go to publish and keep getting things kicked back and ask you why you think this might be, then you’re being invited to critique. Otherwise you’re being asked to encourage.

We learn to write by writing. If we get quashed when we’re young, we’re not going to learn. We’re just going to stop.

It doesn’t take much to encourage a writer. Just a little bit of your time to show that you don’t think their stories are frivolous and stupid. And then, once they’ve written more and have been able to grow (and look back on that first story and wince and thing “You let me read you that and you still came back for more?”) you can have good things to say about what they write.

How about you in your own writing journey? Who’s been your biggest source of encouragement and support?

Ripper suspects – Joseph Barnett or George Hutchinson

It’s been a while since I’ve shared some of my research instead of my writing musings, so let’s jump back in to Jack the Ripper and consider a pair of suspects: Joseph Barnett or George Hutchinson. These are an “or” pair instead of an “and” pair, because nobody’s (yet) suggested that they worked together, but the story behind them is very similar.

Both Barnett and Hutchinson are connected to Mary Jane Kelly, the last of the so-called Canonical Five victims of Jack the Ripper. Choosing either Barnett or Hutchinson as the Ripper clearly makes Mary Jane Kelly the last. It actually positions her at the center of all of the murders.

Joseph Barnett was Mary Jane Kelly’s boyfriend. The two of them met in April 1887 and decided to move in together on their second encounter. The vast majority of what we know – or think we know – about Mary Jane Kelly comes from Barnett’s testimony at the inquest after her murder. He lived with her until the end of October 1888, when they quarreled and separated.

Barnett had been living with Mary Jane Kelly at 13 Miller’s Court when they separated. It was a very small room, with only a single bed, and one of the reasons for the separation seems to be that Mary Jane was letting other women sleep there. Since this was the Autumn of Terror where women were being murdered in the streets, and since Mary Jane had a steady room that wasn’t in a lodging house, it seems like it was a kind thing for her to do.

Another instigating factor for their separation also seems to have been the fact that Barnett had lost his job as a fish porter, resulting in Mary Jane Kelly’s return to sex work. Barnett apparently disproved of this as much as he did of her offering their small, shared space to other women, and so he left her. Their separation was the reason why Barnett was not also sleeping at 13 Miller’s Court the night of November 8-9, and why Mary Jane Kelly was alone and murdered there.

Barnett was not a suspect at the time. In fact, Inspector Fredrick Abberline personally cleared him after a four-hour interrogation, which included an inspection of Barnett’s clothes. No blood was found, and Abberline, at least, was satisfied.

The same cannot be said for Bruce Paley who, in 1996, named Barnett as the Ripper. According to Paley, Barnett decided to become the Ripper in order to scare Mary Kelly off the streets and force her to stop making money through sex work out of fear of being murdered. On the one hand, Barnett’s plan seems to have worked if Mary Jane Kelly was worried enough to allow other women to sleep indoors with her. On the other, he apparently couldn’t scare her enough to stop. Thus, Paley argues, Barnett was driven to kill the woman he loved because he couldn’t save her otherwise.

George Hutchinson also became a Ripper suspect not in the 1880s but in the 1990s, this time in a 1998 book by Robert Hinton. Hutchinson was known to the police at the time because, after Mary Jane Kelly’s murder, he made a statement to the police about a man he had seen with Mary Jane Kelly shortly before her murder. Hutchinson, unemployed, apparently had plenty of time that night to hang around Miller’s Court and get a good look at anyone who passed by.

Abberline also interviewed Hutchinson, although he was considered only as a witness and not a suspect. Hutchinson had known Mary Jane Kelly for three years and his incredibly detailed description of the man entering the room with her was explained because Hutchinson thought the man looked “foreign,” which piqued his interest and concern. After all, women were being murdered, so of course he would memorize every detail about any man who seemed to be going into his friend’s room as a client.

Although numerous skeptics have doubted Hutchinson’s description of the Ripper, he wasn’t accused of being the murderer himself until Hinton. And here the story sounds very similar: angry that Mary Jane Kelly was supporting herself through sex work – and not relying on him as her sole sexual partner and source of money – Hutchinson orchestrated the Ripper murders, hoping to scare Mary Jane Kelly into stopping.

Hinton suggests that Hutchinson, after seeing Mary Jane Kelly take that client into her room and that client later depart, snapped. Hutchinson therefore went into 13 Miller’s Court himself, shook Mary Jane Kelly awake – or tried to, considering the reports that she was very drunk that night – and was confronted with the reality of the woman she was instead of the apparent perfection he had preciously imagined. With this ideal shattered, Hutchinson lashed out and killed her.

So: two men who knew Mary Jane Kelly, and were known to have been close to her at the time of her death. One of them was cleared as a suspect by Fredrick Abberline, and the other never even considered to be one. More than a century after the Ripper murders, each in turn became accused of being the Ripper to turn Mary Jane Kelly away from sex work … and into his arms.

What do you think? Was there something in the air in the 1990s? Would a man ever actually turn to serial murder as a way of pursuing the “perfect” woman? Or should we let Barnett and Hutchinson rest in peace?

The curse of “perfection”

The other day I read a comment (about a knitting pattern, but it still applies) where someone said “If I’m paying $X, I expect it to be perfect.”

It wasn’t even an exorbitant amount of money. Just a very normal price for a knitting pattern. Probably too low, even, but we don’t need to get sidetracked into discussions of fair pay for designers. The part that’s stuck with me is this idea of “If I’m paying for it, then it should be perfect.”

Putting your writing (of any kind) out there for other people to read is a scary thing, because it means random strangers can pick it apart. Insult it. Post that they can’t believe they paid $X for this. Sharing your writing means opening yourself up to critique, criticism, and insults of something you’ve worked hard on, and done all you could to “fix,” but …

Errors happen.

Especially when your document goes from person to person and each is focused on perfecting one aspect of it. Your editor fixes your commas, maybe, but then once it goes into layout, you end up with a weird line division of a multi-syllable word. It’s not because layout wanted to introduce an error. Layout did exactly what layout is supposed to do. And hopefully you catch it in the proofs stage, but in the proofs stage you’re looking for errors and trying to build your index, working under a hard deadline.

I think it’s time for Gaiman’s First Law again:

“Picking up your first copy of a book you wrote, if there’s one typo, it will be on the page that your new book falls open to the first time you pick it up.”

Neil Gaiman

We’re human. All of us, no matter what our title or CV or reputation. We’re all trying our best to contribute what the process – and it’s a long, long process – needs from us so we can end up putting something in your hands. We read our own words so many times, trying to approach them from so many mindsets, that a mistake isn’t a sign of neglect. Everyone involved is doing their best and laboring over the document and reading so closely that yes, sometimes we miss something that a casual reader will think is glaringly obvious.

There will always be errors, and there will always be people pointing out errors. I guess my fear is that someone will read “If I’m paying $X, I expect it to be perfect” and then … never try. Never write something in the first place. If a complete stranger has such high expectations, never having met you, imagine how high your own must be since you’re fully aware of your own capabilities.

Have you ever heard this one?

A good dissertation is a done dissertation. A great dissertation is a published dissertation. A perfect dissertation is neither.

old academic adage now apparently posted everywhere without an accompanying citation

Stop expecting perfection. Of other people. Of yourself. If perfection were a requirement, nothing would ever be published. We’d all be stuck in the pit of despair and red ink. Forever.

If your idea is going to get out there, you need to make peace with the fact that it won’t be perfect. (Whether you really want to make peace with the fact that strangers will communicate with you solely to point out errors is your own decision.)

There are some things you have no control over. There are some things you just have to let go. One of the first is others’ idea of perfection. And one of the second is your own.

What do you think? Can writing ever actually be “perfect”? (And do people send the same number of comments about something if it is?)

Interview with Grab the Lapels

Melanie over at GTL has interviewed me for her Meet the Writer Series. Go on over and check it out! If GTL is new for you, Melanie explains:

Meet the Writer is a feature for which I interview authors who identify as women. We talk less about a single book or work and more about where they’ve been and how their lives affect their writing. Today, please welcome Rebecca Frost. 

She starts off by explaining a bit how we met. She tracked me down through this website and we emailed back and forth for quite a while about true crime, books, reading … the good stuff. And then we realized we actually have a friend in common.

Melanie asked if I’d like to be featured in her Meet the Writer series, and I jumped at the chance. Head on over to her blog to see what I have to say.

About handling multiple projects again …

I had a virtual conference this past weekend and I was talking to some friends I haven’t seen in over a year. This is usually how it goes for me: someone asks what I’ve been up, to, and … I realize I need to start counting things off on my fingers. Which inevitably leads to another question of “How in the world do you do it?”

Right now, in this very moment, I’ve got three book projects going. They’re all in different stages, but they’re all currently in progress. Some of the progress of getting a book published is actually “waiting,” which is helpful, because I can fill the “waiting” time with other work.

It’s also something I rather seriously compartmentalize. Two of the projects are currently in the “waiting” stage. I’m waiting for one of them to get me proofs, and for feedback on the other, so currently I don’t really consider either of those as “active.” I don’t know exactly when they will be “active” again, but, until they hit my mailbox with the next step and a new deadline, they’re basically snoozed.

A downside to the “waiting on other people” can be that multiple things hit your inbox at once. There was that one memorable year when I wrote three chapters for different collections, plus a book, and things just kept hitting my inbox with tight deadlines and a lot of tasks. That’s when I had to step my compartmentalization up to the next level, assigning each project a block of time per day instead of a block of days.

This is also the time when anxiety can kick into higher gear and imposter syndrome can rear its head, because people are actually reading what I wrote, or they’ll soon be able to. They can pick it apart and tear my argument down piece by piece. (For some reason anxiety never worries that the publisher won’t be able to keep up with demand and people will complain about that.)

And usually when you get feedback, there are at least some positive comments in the mix … but you’re not concentrating on those. You’re looking at what you have to change, and how you’re going to do it, and whether you’re going to be able to keep to your main goals and ideas secure while responding to outside influences. (This is why it’s nice to only have one project in the feedback part of the process at a time, if possible, so at least you can retreat to something else for a break.)

And honestly, it’s only when I have to catch someone else at my life that I step back and see the forest for the trees. I know that’s usually meant as something people should do, because otherwise they miss things, but … for me, at least, focusing on one project at a time (and strictly outlining what those times should be) helps me block out the wider anxieties and put as much of my energy as possible into the project at hand.

How do you deal with working on multiple projects at once?

Jack the Ripper and hypnotism

At the beginning of the year, I was contacted and asked if I’d be interested in writing the foreword to a book involving hypnotism (the author’s area of study) and Jack the Ripper (mine). I’ll admit that I was a little dubious even after I agreed, since I tend to avoid fiction about the Ripper but, once I had the proofs in hand, I was fascinated.

Donald K. Hartman collected two Ripper narratives from 1888 and 1889, both of which use hypnotism in their explanation of why the Ripper killed. Hartman also makes a case for both stories as having the same author, with one written under a pseudonym, and goes on to detail the life of Edward Oliver Tilburn. That’s an adventure in and of itself, but I’m going to stick to the Ripper here.

As I mention in my foreword, the obsession with the Ripper story isn’t just about discovering who the Ripper actually was, but also explaining why someone would kill like this. It’s a question of motive, and we ask it of every serial killer. It’s comforting to have an answer – for example, to say “Ted Bundy killed women who looked like the one who dumped him in college,” since that makes his choice of victims somehow explicable and also means that women could do something as simple as changing their hairstyle to keep themselves from becoming his next victim. (It is, of course, always up to women to keep themselves safe.)

The question was especially prevalent in the 1880s because the existence of someone who killed strangers for his (or her) own devices just seemed so foreign. This wasn’t the era of serial killers and CSI – there was no handy term to use for such a person. The backstory that seems done to death in 2021 didn’t exist in the late 19th century. There wasn’t the Crime Classification Manual or interviews with violent offenders to form a framework. The question of “What sort of person would do this?” didn’t have even a vague, profile-heavy answer.

Hartman provides us with reprints of two stories that respond to the question with “Well, hypnotism’s involved, so that explains a lot.”

Twenty-first century readers might have to force their eyebrows down over the hypnotism specifically, but the two stories here have much in common with contemporary narratives. One of them has so many similarities to NBC’s Hannibal that it’s almost a Ripper AU fanfic. There’s no cannibalism, but an innocent younger man crosses paths with an older man whose obsession is dangerous and immoral, and the two of them begin an intense, destructive relationship.

Once the author (or authors) establishes that at least part of the Ripper was due to hypnotism, it clarifies a lot for the Victorian audience. Already the Ripper is involved in something dark and mysterious, on the edges of society, that really shouldn’t be touched. Once a hypnotist is involved, there’s really not much of a stretch to include murder. One outsider easily becomes another, and the danger of the hypnotist is that of Charles Manson: he doesn’t have to be present at the murder to have caused it, and his powers are so great that he can influence someone who’s otherwise innocent to transgress enough and commit murder simply because he wanted them to.

Neither of these stories intends to actually explain who the Ripper was – that is, to honestly name a suspect or explain the crimes. They’re entertainment, and Ripper scholars can pick out all the details the author(s) gets wrong in the telling. But the really fascinating thing to me is how they’re so similar to serial killer fiction we see produced today, and how many themes and tropes we still share with the late 1800s.

What do you think – does a Hannibal-esque retelling of Jack the Ripper pique your interest? Is there value in reading these old attempts to explain the Ripper through outdated fears of hypnotism and control?

Is it worth it for humanities scholars to have a website?

This question’s been going around Twitter lately, so here are my thoughts:

  • Yes, because if you have a blog, you have more space to answer questions like this and can link people back to it instead of trying to type out the same answer, but shorter. (I’ve been doing this lately when people ask about academic book proposals: two blog links in one tweet. I’m not crowding your feed, but bam, these are my thoughts.)
  • Yes, because it’s a way for people to reach out and contact you. If you’ve ever tried to track down a scholar based on a thesis or dissertation, you might know: .edu emails disappear. They aren’t always checked. Even though my website hasn’t even been around a year yet, I’ve had multiple people contact me through it, either because they’d already read something about me or they googled something about my research and came across it that way.
  • Yes, because if you don’t have a website, you’re never going to randomly wake up one morning to a notification that Smithsonian Magazine has linked to it. Okay, that’s very specific, but: if you don’t put things out there for people to find (for free), then these things won’t happen. It’s also a place where you can share your research on a more accessible level, both as in “not behind a paywall” and “I don’t have to put on my ‘scholar voice’ when I write this stuff.”

People who are curious about the work I do are more likely to click on a link than they are to buy a book. Especially a book from an academic press – we all know the price tag on those can be higher than average. But, if you read what I post and like what I do, the chances of a purchase go up.

On the other hand, the possible drawbacks:

  • Starting a blog means having to continually produce content. I draw either from research I’ve already done and published or my interactions with other writers, but it still takes time to write up these posts so that there’s continually something new. Having a static website is still totally recommended because of my second point – giving people a current means to contact you – but, if you’re thinking of going the blog route, it’s another to-do in your list.
  • Costs. Depending on the kind of website you want, you might have to budget for it. There are plenty of opportunities for people who don’t know either coding or design (hello!) to set up their own websites, but taking the time to look around and decide which one seems best for you is a cost of its own.
  • Overnight success takes a decade. Well, maybe not quite that long, but I looked at this website and blog as a long-term investment. Sure, the views and comments would be low at first, but … maybe … some day … even more things will happen that I never dreamed of. Through all of the “shouting into the void” weeks, though, you still need to be producing content. That’s just something to be prepared for.

What do you think? Do you have your own website? What’s your experience been like?

You’re not a train

Say you’re sitting down to write a new project and it’s just … not working. You’ve got a deadline coming up, but that doesn’t seem to be helping. You’re going through all of your usual tricks to get words on the page, and the blinking cursor still taunts you.

The thing is, you’re not a train. You’re not stuck to a single track. There’s more than one way to get from point A to point B.

Trains can only go where the tracks have been laid, and the tracks themselves have to follow a bunch of rules: no turns tighter than such-and-such. No inclines steeper than so-and-so. They need this much track to get up to speed, and this much to stop, and if they come off the tracks, they’re in big trouble. Anything from a cow to an avalanche can ruin everything, up to and including your perfect murder plot on the Orient Express.

But you’re not a train.

That’s one of the reasons there are so many “how to write” books out there. Maybe a bunch of writers agree on certain sets of train tracks, and there’s a lot of traffic there, and maybe they even usually work for you, but the world is so much more than train tracks. There are paved roads, and dirt roads, and trails through the woods, and not only are you capable of off-roading when necessary, you can even fly. You’re a drone with controls in the hands of a master.

Not a train.

I fall into this, too: thinking that, since x, y, and z have worked well for me in the past, they’re the only paths I have. The only ones I know. The only way to get from point A (the blank screen) to point B (the completed manuscript.)

As though I haven’t read (and rejected) other ways of writing, and I haven’t heard about other apps and technology, and there’s no pen or paper in the house.

When you get stuck with writing, the best thing is to stop trying to force it and take some time away. Deadlines don’t always allow for that, so the second best thing is to stop trying to force it this way and try another approach. Instead of cutting straight on through, the way you always have, look for a different path to see if it’ll skirt the issue and get you where you need to be.

It’s like the old rhyme about going on a bear hunt, except you can go under it. Or around it. Or over it. You’re not forced to always stay on the same tracks and always go through it.

You’re not a train.

The tracks are there, and well-known, and comfortable, but if they’re not meeting your needs right now … leave them. Seek out the path that’ll get you where you need to be, because sometimes plowing through the trees gets you there faster than continuing to inch painfully along the tracks.

(With apologies to my brother, who might actually be a train. He works at the Strasburg Railroad, and that’s him in the front. He’s even written a book about trains and how to make your own.)

Blinders on

There are a lot of times I point out how useful it is to put on your metaphorical blinders when you’re working on a project – or especially when you’re working on multiple projects. Having a clear focus helps keep you from getting sidetracked, especially if today you’re supposed to be working on Manuscript 2, so stop thinking about 1. But, sometimes … the blinders work against you.

Lately I’ve been working toward the tail end of a couple projects. Proofreading, final manuscript preparations, that kind of thing. Generally surface-level stuff and final checks before sending something off. I’ve just finished the current step on a couple of these, and I was telling a friend that I don’t know what I’m going to do with the rest of my week, since I know I’m getting comments back from someone next week.

He told me he’s spending his week reading.

… oh. Right.

I’ve been so focused on these particular steps for these particular projects that I’ve been ignoring the stack of books to the left of my desk in my “read these next” pile. Not to mention a whole bunch of other books lined up behind them.

I have to admit, though, that this isn’t new. Once I get to the end of my to-do list, even two items at a time, there’s generally a moment of stunned silence and a feeling of “Uh … so what now?” I’ve been so focused on getting this one thing done – thank you, blinders – that, once I’ve checked it all off, I have to blink a few times before I can back up and take a look at the forest again.

So: this week, I’ll be reading. Also known as “putting words back in my brain.” Making notes in the margins and highlighting all sorts of things and writing down any new ideas and connections that occur. (But not messing with anything I’ve already handed off – nope: once you put something out there for someone else to look over, don’t even look at it again. Because you can’t go changing it now, anyway.)

Writing blinders, off. Reading blinders, on.