Showing posts with label symptoms. Show all posts
Showing posts with label symptoms. Show all posts

Wednesday, May 11, 2011

Practice

I spent the weekend in Spokane, watching about 1200 caps and gowns file up, across, and off stage. My grandma told me to yell for my brother when he came into view. I found that I couldn't. Seriously. I could not raise my voice.

In 2009, while doing a documentary on the placebo effect, I had my aura read by two different people in two different states. Both readers noticed my crown chakra (mental) was ablaze with energy, while my throat chakra (communication) was about the size of an amoeba or Donald Trump's charm. I've been getting steadily quieter over the years too. I sound perfectly intelligible to myself, because what I say registers clearly in my mind, but it's rare anymore that I don't have to repeat a phrase two or three times to be understood. It gets unnecessarily frustrating.

The cause is two-fold: one, I don't want to be disruptively loud as I was growing up, and two, I prefer most conversations to be private without bystanders leaping into the dialogue at the first convenience. The issue is that my concept of volume is shot to hell. As a child, I was a screamer, an exclaimer, a singer, etc. In short, I was loud all around. It drove many people nuts, particularly the adults in my life, who invariably told me to tone it down. After a while, especially during the pivotal 6th grade year, which saw the first big blow to my self-esteem, I learned that it was better to be silent, discreet, inconspicuous and therefore hidden from critical eyes.

Where this presents a problem is in real social situations, like graduation, or a sports game, or really any exchange in which more than two people are involved. I can't hold my own in these situations. I don't know how to barge in, cut people off, or make my point. I'll start to say something, but it's either too quiet or devoured by the existing momentum of another's soliloquy. I may have a very good idea in mind, but I just can't get it heard. This has been a great contributing factor to my ongoing isolation; it's not that I want to be in the spotlight all the time, but to actually be included, heard, welcomed would be so very nice. Nonetheless, this has remained elusive over the years.

A runner's legs grow thick and strong, a swimmer's arms as powerful as legs. That which is not used atrophies. Such is the case with my voice. There is this need inside me to shout, proclaim, sing, project, SPEAK for crying out loud, but my voice does not follow my heart and stays timid and weak, still afraid of sixth grade disapproval, despite the extraordinary progress I've made in other fields. I understand the mantra of "Practice, practice, practice," but I have no direction to motivate me through the mire of imagined criticism. I'm afraid to sing in my own room and car, for Pete's sake, out of fear for disturbing others with a sound not unlike a cat with its tail caught in a garden edger. Yet, I want to be loud again, badly, and I'd rather not wait until the magical age of 75 when all inhibitions go to shit and I can say and do whatever I want while people understand that I'm just old then smile and nod. Maybe I just need a better grasp of what it is I want to say. What do I want to say?

Monday, April 11, 2011

A Thousand Feet in the Air

Whew! Okay, I'm back after quite the hiatus. Where have I been, you ask? I've been face-down in the pages of a script. I received a follow-up E-mail from one of the Script List folks, basically asking me, "Dude, where's your script?" I decided it was time to stop putzing around and get the thing done.

And now, it's done! I sent in all 120 pages, rewritten to death and resurrection, this morning, and now, there is so much potential ahead. With this weight taken from my shoulders, I have leaped a thousand feet into the air, but it is important, on my way down, to find a place to land.

Writing a really great script requires a firm grasp on human emotion, something I struggle to understand on a daily basis. The way to reach the intense anger, joy, and sadness depicted in movies is foreign to me, owing to spending so much time isolated in my head. I can handle complex systems; I can create cultures down to the assistant to the middle shaman in charge of sprinkling shaved rodent hair over the heads of ceremonial dancers, but for the life of me, I cannot be satisfied with my characters' reactions. I can write "She YELLS" or "He breaks down," but I can never tell if the situations surrounding those short statements would, in the real world, elicit such responses. I have no gauge, and it's made writing an incredibly frustrating process.

Emotional people fascinate me. When I see someone cry or laugh out loud or really lay into someone, I'm almost paralyzed with wonder and sometimes end up having to give account for my staring. When friends are emotional, I struggle to relate, but being unable to do so, I resort to intellectualism. "Interesting" is a favorite, non-committal word. The roots of this are many, but the fact of the matter is, while I can feel emotion inwardly, my inability to express it outwardly, like those fascinating people I observe, is inhibiting me from getting my work to reach beyond the system and touch the heart of the reader.

I used to write scenes that made me want to cry, but I believe they were in prose. When I can get inside the character's head (my realm), it works, but in the screenplay format, where all is visual and audible, without scent, touch, or thought (which must be depicted visually on film), I'm stuck. I cannot convey the emotion as I want, nor can I get my readers to understand the emotional depth that I had envisioned. So, sticking with New Year's Resolutions, I've got to figure out how to open the bottle of tears and let the words flow out. This next script had better make someone react, or so help me, I will figure out how to express my annoyance off the page.

Sunday, January 2, 2011

New Workout Regimen

One of the fun features of Asperger's is a tendency to set a routine and adhere to it viciously, and nowhere has this been better expressed than in my gym attendance in the past four years: weight training Monday through Friday, alternating push and pull. Occasionally, the thought occurs to me to change routines, and so I do. Then I continue that routine rigorously for months on end, long after it has lost most of its efficacy.

I'd like to mix things up a little more this year, chiefly because my body is screaming for more cardio and flexibility work. The years of weights have made me dreadfully stiff. So, here's a tentative new weekly schedule. It will probably fluctuate (in fact, I hope it does), but at least there's a basic structure to it.

Sunday
Stretching. Yoga, maybe?

Monday
Weights: Pushing exercises.

Tuesday
Weights: Pulling exercises.

Wednesday
Cardio: Running, jump rope, or whatever else comes to mind.

Thursday
Weights: Pushing exercises.

Friday
Weights: Pulling exercises.

Saturday
Cardio: Running and/or hiking.

Sunday, December 19, 2010

Gooble Gobble

I won't be offended if you don't get the title reference. That being said, I logged onto Meetup.com and joined a group for people with Asperger's Syndrome and other forms of High-Functioning Autism. I got a kick out of the symptoms list on the About page. The familiarity is frightening. Should I start going to meetups with my fellow aliens, I may have a blast or find myself amidst a great gaggle of miscommunication. In any case, pretty much all of the symptoms apply to my life, but these especially:
  • People think you are an ass, and you have no idea why.
  • You can't make accurate social conclusions: You can get a joke (stated conclusion), but you will not know someone is angry, or that they are angry with you (or you assume anyone angry around you is angry with you).
  • Ever get these responses? "You think too much," "I have another call," "That makes my brain hurt thinking about it..."
  • You can mimic/mirror people and an environment for a couple hours. You may have a "speech" mode and use tricks to get through social situations (feels like a performance).
  • You do have facial expressions, they just don't always match. Your response will not always be perceived as as you expected it to. Example: You are excited about something, but people think you are angry. Same thing with voice inflection. You won't know why they think that, or what to do about it.