Working For My Dad

Sometimes people wonder how I could have screwed up working for my dad.  That seems like such an easy and obvious gig.  My job for my dad was to find and hire and work with very talented people to do very creative things and pay them to do these things for Missco.  That was my job, and I was paid well.

That my dad gave me that job told me he was trying pretty hard to hear when I talked about what I wanted from life but that I might be doing a pretty crappy job of explaining what I meant.  I knew what I wanted to say.  Even in those days, words were my weapons, but I felt like I needed to keep that hidden.  It made me too different. 

I was meeting and working with people who knew and understood all the things that were important to me in life, and I was spending a great deal of time with them, but I was getting more and more lonely because I was a bird paying other creatures to fly for me.  I used a twelve thousand dollar computer to arrange and organize and execute other people's work, and occasionally use chatrooms to try and find people who understood me.  

My dad loved me and thought he was offering me a way to be happy, but whatever gifts God gave me were dying from the inside out, and I didn't know how to make it stop.  I was in trouble and I knew it.  He did too.  

"What are we gonna do buddy?" he would ask.

"I don't know pop.  I really don't."

My other problem was that I inherited a trait from Jim Campbell that whenever I heard the cries of anything or anyone in trouble, I'd jump in with both feet to fix it, acting like I was more invincible than Superman.  That I wasn't actually invincible was immaterial.  This was the Campbell way.

The problem is that, when you're twenty-five, there are a lot of people with a lot of problems you can't do a goddamn thing about.  Whatever time, money, or effort I was spending was immaterial because what I wanted to accomplish wasn't happening.  I was failing over and over at something that was very important to me.  To make matters worse, in the eighties and nineties, these voices of people in pain were often ladies, and as a Kappa Alpha, I had literally sworn to protect them with my life just a few years before.  Most were sincere and genuine, nearly all, but there were a rare few who saw this as an opportunity, one I felt like I had no right to deny them.  I felt like companionship wasn't meant for me.  I was a different sort of creature.  Those were difficult days.

I ended up in a situation where many people knew about me, my picture was in the paper, and my name was in print, just everywhere, and I was invited to everything, but there were maybe five people who knew anything about me, and even if they didn't understand why, they knew I was in trouble and sinking fast.  When Dad died, and the control of Missco went berserk, I felt really bad because I knew this was my escape plan.  

Escaping from Missco meant I had to spend a few years in the belly of the whale and a few years wandering the desert after that.   Seeking out wise men, I found Brent Lefavor, who became my Chiron, and he taught me I could slowly break away the plaster covering my own wings.  Now, I'm old, but I'm free, and I CAN FLY.  

What Happened To My First Three Books

 When "The Secret History" came out in 1992, I read it.  Then, I threw out about a dozen 3M 3.5-inch data disks containing three books I'd been working on for about ten years.  Tartt's work was so clear, powerful, and self-assured that I felt there was no point in trying to make anything of the confused assembled scribbles I was working on.  

I was already a little nervous about Beth Henly being from Jackson and just eleven years older than I was.  Tartt was six months younger than me and from a house just a few streets over from my cousin Robert in Greenwood.  Did the world really want to hear from an over-privileged white boy of my generation when there were so much clearer and more interesting voices to choose from?  Then "The Help" came out from Kathryn Stockett, who's just six years younger than me and from the same neighborhood.  I'd visited her Grandfather often, who mainly only wanted to talk about my namesake, who was his peer.  

After that, this writing thing, I figured, just wasn't for me.  I was surrounded by it.  It was in the air I breathed, but they were so good, and I was barely able to read books with chapters before I was thirteen, and even now, without computers, it's very difficult for me to put a sentence together properly.  

The creative process, I learned, was wrought with self-doubt.  If it's not, you're probably an asshole, and eventually, it will show in your work.  Comparing my work to others isn't fruitful or helpful.  My goal is not to compete with someone else's work but to get these ideas in my head down on paper so they'll leave me alone.  

The ideas I was working on when I threw those disks away are still inside me.  They probably will be until I make something of them.  I don't feel like anything was lost.  I just had a tantrum because I was scared.  That happens sometimes.  It happens to me a lot.  I'm learning that if I tell people I'm working on something, I can't destroy it in secret when I have moments of self-doubt or frustration that my vision hasn't focused itself yet.  It's a little trick to keep me disciplined and hopefully prompt me to keep moving forward, even when the doubts start to creep in.