When I look at a situation that needs changing, I first try to imagine how the flawed situation would look in a perfect world. That at least gives me a target to shoot for. I then either rearrange things that can be rearranged to head in that direction, or I camouflage the situation such that it at least looks closer to the ideal. I’m not sure how well this works on a small scale but I find it pretty effective for big-picture scenarios. And maybe that’s because the details don’t matter quite as much.
For example, when I was younger by a couple of decades, I used to imagine myself a published author. In addition to stealing hours from the night while the baby slept or from my lunch hour on my job in order to write, or to read craft books and structure endless query letters and so forth, I had this habit—usually indulged while I was driving when nothing more constructive could be accomplished—of imagining myself as a successful author being interviewed by Oprah on her show.
Just the feeling of stepping into that role—smiling benignly when asked by the Big O about where I got my story ideas or did I feel guilty receiving eight-figure advances when there were still starving people in (fill in the blank)?—helped me feel more confident in my dream of becoming an author. And trust me, as with a lot of things, feeling the part goes a long way to being the part.
There’s a lot to be said for feelings following behavior. I once dated an actor who was wonderfully good—brilliant, in fact, in the way he could transform himself from an impoverished, not particularly witty thirty-year old living in Atlanta, Georgia to a smoldering powerhouse in the character of Silva Vaccaro from Tennessee Williams’ 27 Wagons Full of Cotton. It wasn’t just my fondness for him that made me think his portrayal was one of the most mesmerizing performances on stage I’d ever seen. He was that good. Which was why when he scraped the makeup off it was so perplexing to have him resort to a whiny, depressed artiste—nothing like the characters he brought to life on stage.
When “Robin” complained to me about some amorphous tragedy he was in the midst of (it was never anything specific like needing rent money or having an annoying boil on his nose or something), I would say: “You’re an actor. Just pretend you’re happy! If you smile—like you do on stage—you’ll eventually end up feeling that way!” (BTW: This tact totally didn’t work with him. OTOH, I imagine my Pollyanna advice was at least as irritating to him as his whining was to me.)
I’m not saying I believe that we can necessarily control how we feel or what we think. I get that unwanted thoughts and emotions squeeze into our minds during our daily round derailing our best intentions, our plans, our goals. But I think creating a pretend-world is a lovely exercise in make-believe that can, for at least a little bit, supplant reality when you really need reality to be blotted out. Or if you just need a level playing field to get your mood up, your confidence running, your mojo topped off—and I think once you’ve done that—and even gotten in the habit of doing it quite a bit—you’ll end up feeling a little better.
Anybody else subscribe to the fake it ‘til you make it line of thinking? Does it work for you? Got another idea?
4 thoughts on “When a fake is nearly as good as the real deal”
It probably didn’t help that actors, invariably, have easily bruised egos.
Ha ha…you’re right! I guess all that thespian brilliance came at a price. 🙂
About thirty-odd years ago, after I’d been formally taught how to write but before I was experienced at it, I decided my writing was rubbish. How to make it better? Emulate what others did. Not copy them – but figure out how the styles worked. I thought of it as ‘faking it’, because I didn’t know what I was doing (and knew I didn’t know). But of course it wasn’t – I’d stumbled upon a legitimate way of learning how to improve my writing. Never looked back.
Exactly. And along the way you brought your own style and stamp to how you wrote. A great way to learn something. A lot of painters do it, too. They copy the masters before they start creating their own original work.