The "Drammatical Sabbatical" — 25 Tips for the Burnt-Out Creative

We’ve been taught that real artists never stop.
That if you’re not always producing, you must not be serious. That’s a lie.
 
I welcome you, dear reader, to honor the sacred pause—the breath between acts, the quiet before the curtain rises again.

Look. I love art. I love making it, thinking about it, being dramatic about it. But sometimes? Art is the reason I’m lying face-down on my carpet Googling “how to get out of literally anything.” If you’re reading this, there’s a 92% chance you’ve got a half-finished project whisper-screaming your name from under a pile of laundry, and your muse is somewhere in the backyard hiding under a lawn chair.
Burnout is real. It’s sneaky. One minute you’re like “yay creativity!” and the next you’re hate-watching a toddler paint on TikTok and yelling “WHY IS HE MORE PRODUCTIVE THAN ME?!” 

You don’t need another lecture about discipline. You need a break. A soft, juicy, permission-soaked summer of not trying to win a Pulitzer by Labor Day.

Sometimes we chase productivity because we’re afraid of the quiet. 

But stillness isn’t laziness. It’s rebellion. 

You don’t have to earn your peace. You just have to let yourself feel safe enough to rest. 

Burnout isn’t failure. It’s your body begging for wholeness. 

You’re Not Lazy. You’re just a Toasted Marshmallow in a Human Suit

In a culture that trains us to hustle harder, prove ourselves endlessly, and tie our worth to our output—rest becomes radical. 

For artists especially, rest is not optional. It’s how we refill the well. It’s how we remember we’re not machines. It’s how we hear the quiet voice of inspiration again. When you rest, you are not “falling behind.” You’re reclaiming your time. Your nervous system. Your dignity. Your right to be before you do.
 
So I made this list. A list of 25 nourishing, soul-restoring things a burnt-out artist might do during a “summer break” to recover their creativity. Not of “ways to maximize your output” (ew), but of things that might gently coax your soul back into the room after it peaced-out sometime around mid-April. Some are sweet. Some are weird. Some are borderline unhinged. But all of them are here to help you feel like an artist who still has a pulse, not a productivity robot who ran out of battery.

Do one. Do twenty-five. Do none and just lie on your porch drinking a cherry Coke while thinking about doing one. There’s no wrong way to resurrect your weird, wild magic.

 25 Ways for Burnt-Out Artists to Heal Over a Summer Break

1. Take an intentional creative sabbatical (with no guilt). I call mine the "Dramatical Sabbatical" and it not only always gets a smirk and a "that's funny" but it also REALLY WORKS. 
 
2. Delete your social media apps for a week. Or a month. Or forever. 
 
3. Revisit the art you loved before it paid your bills. Just go as a spectator. Be the little kid losing their mind in the audience that screams “I LOVE MUSICALS!!!” at curtain call like a lunatic. Be a giant nerd. Geek out. Turn on music and don't pick it apart, just enjoy it. Read a book and get swept away, instead of writing a review as you read it. You get it. 
 
4. Start a “No Project Journal.” Start a notebook for ideas that don’t have to become anything. 
5. Go analog. Write by hand. Collage. Touch paper again. 
6. Give yourself a week of “bad art on purpose.” (Messy, silly, rule-breaking—just for joy.) 
7. Unsubscribe. Untether yourself from 10 email lists that flood your nervous system with “shoulds.” (Sending them to junk is acceptable too, if unsubscribing is more trouble than its worth)
8. Read something that has nothing to do with your career. Have you heard of reading for pleasure? It’s excellent. 10/10 would recommend.
9. Make one room in your home a “creative sanctuary.” Not for work, just for wonder.
10. Move your body gently. No performance, no punishment—just movement as medicine.
11. Say “no” to something that drains you. Don’t over-explain, and practice this with grace and kindness.
12. Plan an “mute or unfollow party.” Curate your feed with people who inspire, not exhaust. (You can always look the exhausting people up if you need to know what's going on. Once upon a time people sought out news, not news seeking out people. replicate this as best you can in the 21st century)
13. Do an Artist’s Date every week. (à la The Artist’s Way) Indulge in a solo, joyful, inspiration-forward and deliciously unproductive date with your inner artist who is screaming for a playdate. 
14. Wake up early. For the purpose of "not rushing." Just to exist. To sip. To breathe. 
15. Take a “no content” walk. No phone. No podcasts. Just listen to the world. And if you see a perfect flower or a cute dog? Take this opportunity to resist filming it, and use your five senses to simply commit it to memory like our damn ancestors had to do. 
16. Lie on the floor and stare at the ceiling. Really. Let yourself do nothing.
17. Reclaim a childhood hobby you left behind. Macramé, piano, horses, whatever.
18. Write a “permission slip” to yourself. e.g., “I’m allowed to rest without proving my worth.” 
19. Join a workshop or retreat as a participant, not a performer.
20. Write a love letter to your creativity. Especially if you’re mad at it.
21. Rewatch a movie that made you fall in love with storytelling.
22. Try a “no outcome” art day. Create without documenting, posting, or polishing. Just enjoy the sensations. 
23. Declare one whole day “sacred.” No work, no obligations, no guilt.
24. Ask your body what it needs and actually listen. Rest? Get thee to bed. What I call “beauty secrets?” Break out the nail polish. Silence? Embrace it. Connecting with friends? Call them all or go see them. Crafts? Go nuts. Address your actual human needs. 
25. Remember: your art doesn’t need you to hustle. It needs you to come back to yourself

 
 
If all you do this summer is breathe, nap, pet something soft, and scream into a decorative pillow once a week? That’s still “a healing season.” Burnout doesn’t mean you’re broken — it means you’ve been very alive in a system that doesn’t care if you fry. 

Take your time. 
Fill your well. 
Turn down gigs that feel like punishment. 
Eat a peach in the bathtub. 
Let your inner art goblin resurface when she’s good and ready.

Because she’s coming back!!
And you are, too. 
I promise.

Books-by-the-Month: July

July is the month when time both expands and disappears. The days are thick with heat, the air smells of grass, salt, and sunscreen, and the hours unfold like an old quilt—faded, but beloved, patched with both stillness and motion. 

July is made for reading the way winter is made for soup: the two seem biologically destined for one another. It is the month when reading can happen anywhere: under a striped beach umbrella, in the stifling cocoon of a tent, on a rickety porch swing, or simply sprawled across the cool floorboards.
 

Unlike the frantic lists of “New Year’s reading resolutions,” July’s books ask nothing of you but attention. They don’t care if you finish them. They only ask to be carried along—dog-eared, sun-warmed, cat-chewed, maybe a little sandy? In that spirit of gentle adventure, here are six books that feel particularly right for July’s slow, golden hours.

 

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1. The Aliens by Annie Baker

A play may seem an unusual choice for summer, but The Aliens is the kind of quiet, exquisite work that fits perfectly into the languor of July. Set behind a Vermont coffee shop, it revolves around two aimless but endearing friends who spend their days talking about music, Bukowski, and nothing at all—until a high school student enters their orbit. Baker’s dialogue hums with the rhythms of real life: silences, false starts, digressions. It’s a play about not much, and yet it glows with the ache of being young, lost, and alive in the sticky warmth of early summer. Read it on a porch with a sweating glass of something cold, and let its gentle melancholy wash over you.

 

 

2. Travels With Charley by John Steinbeck

There may be no better companion for a July road trip—real or imaginary—than Steinbeck’s Travels with Charley. In 1960, the great American author set off across the country with his poodle Charley, searching for the soul of a nation on the brink of seismic change. The result is part travelogue, part meditation, part love letter to the vast, strange beauty of America. Steinbeck’s observations are sharp but generous; his affection for people and landscapes alike makes every dusty roadside café, mountain pass, and highway motel glow with literary grace. Even if you’re only traveling as far as your backyard, this book makes you feel like you’re in motion.

 

 

3. John Adams by David McCullough

For those craving something weightier amidst July’s breezy distractions, David McCullough’s magisterial biography of John Adams is a feast. History in McCullough’s hands is not dry; it is alive, intricate, and vividly human. Adams—brilliant, irascible, deeply principled—emerges not just as a Founding Father, but as a fully-fleshed character with passions, flaws, and profound loneliness. The Revolutionary War crackles in the background, but it’s the private letters between Adams and his beloved Abigail that linger. "Sit down, John" and read it in the stillness of a July afternoon, when the echoes of America’s birth feel especially poignant in the summer air.

 

 

4. On the Road by Jack Kerouac

No July reading list would be complete without this fizzy, restless anthem to freedom. On the Road is a book for hot nights, for dusty highways, for the perpetual ache of wanderlust. Kerouac’s prose is alive with speed, jazz, poetry, and desperation—the desire to find something, anything, that makes life burn brighter. Even if you’re not setting off cross-country in a beat-up car, reading this in July stirs up the feeling that you could. The open road is always waiting, just over the next hill.

 

 

5. SWAMPLANDIA! by Karen Russell

If July is for humidity, weirdness, and family legends, then Swamplandia! is the perfect literary match. Set in the swamps of Florida, this novel follows thirteen-year-old Ava Bigtree, whose family runs a run-down alligator-wrestling theme park. After her mother’s death, Ava embarks on a surreal odyssey through mangroves and the underworld, crossing paths with ghosts, birdmen, and con artists. Russell’s language is lush and playful, but the heart of the book is tender: it’s about grief, growing up, and the mythologies we build to survive. Best read on a summer night when the air feels thick with stories.

 

 

6. The Summer Book by Tove Jansson

A jewel of stillness and light, The Summer Book is composed of small vignettes set on a tiny island off the coast of Finland, where a six-year-old girl and her grandmother spend the summer together. Nothing much happens—except, of course, everything. Jansson captures the quiet miracles of the natural world and the tender negotiations of family love in prose so clear it feels like sea glass. This is the kind of book you can read in fragments, setting it aside and picking it back up without losing the thread. It is a perfect July companion: gentle, wise, and suffused with the hush of long, golden evenings.

 

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July is a month made for reading that isn’t hurried, strategic, or guilt-ridden. These are books to be savored in slowness, to accompany you through afternoons when the only plan is to follow your curiosity wherever it wanders. Whether you’re stretched out under a tree, half-awake in a hammock, or traveling across states with a paperback in your bag, let these stories keep you company. July, after all, is one of literature’s favorite months: expansive, sun-drenched, and gloriously unhurried.

Mistakes to Avoid When Writing: Part 2

So you read the first list of novel-writing mistakes and thought,
     “Okay, fine, I won’t let my main character have violet eyes, a tragic violin backstory, and absolutely no flaws.” 

Growth! 

But unfortunately (for both of us), the disasters don’t stop there. You’ve merely arrived at the second layer of the flaming lasagna that is writing a novel.
Because guess what? There are still more ways to mess up your writing—and yes, GUILTY, I’ve made every single one of them (while eating cereal out of a mug and calling it “dinner.”)

If your novel is all “vibes” and no story, if your dialogue sounds like it was composed by Alexa, or if you keep quietly skipping every emotional beat because it makes you feel things? I get it. Feelings are exhausting. But so is reading a book where nothing happens and no one reacts to anything. This is the part where I burst through the drywall holding a red pen and a shot of espresso and yell, “WHERE’S THE PLOT, BRENDA?!”

This list Part 2 is here to make sure your novel survives your worst instincts.  
Let’s get you back on track.

 

* 

4. Failing to Plan / Not Knowing the Plot

There are times when a writer reaches the end of a manuscript, and comes to the terrible realization that they have no idea what the hell is going on. 

 

I love a chaotic vibe and all. But if you’re 40 pages in and your main character still doesn’t know what they want, that’s emotional roulette. (Some structure is sexy, okay?) Even a sticky note that says “[something sad happens here]” is better than nothing. Whether you are a fan of outlining or not, planning is essential to writing any kind of complex story (particularly a novel).  

 

I, too, can be lazy and allergic to commitment. But writing a novel with no plan is like driving cross-country with no GPS and a dead phone. You’ll end up in a ditch, surrounded by cacti and plot holes, sobbing into your giant Slurpee. If nothing else, you must know where the story is going. If not all the details, I suggest (perhaps) the beginning, (maybe some kind of) the middle, and, (if I may) the end. 
Here is a mini step-by-step guidance for building a plot structure—just enough scaffolding to guide the story, never enough to trap it. 

Try This: 
Begin with the “big five beats”: 

1. An opening image or situation that captures your character’s normal
2. An inciting incident that disrupts that normal
3. A midpoint turning point that complicates everything
4. A low point or crisis that forces your character to face what’s truly at stake, and 
5. A resolution where something—externally or internally—changes for good. 

These aren’t shackles—they’re scaffolding. You can fill in more steps later, but even this rough shape will help you spot where tension builds, where transformation happens, and where you’re heading. Keep it messy. Let it evolve. Structure isn’t your enemy—it’s your compass. Just don’t forget you’re allowed to leave the path if the story finds a better one.


5. Leaning on Clichés
 If your opening line sounds like the back of a paperback romance in a grocery store clearance bin, delete it. I’m talking: “she was a feisty spitfire with a past,” or “the night was dark and stormy” garbage. In a world chock-full of novels, readers want something original. Nothing will have someone closing a book for good faster than the use of multiple cliches that make your soul itch. We get it.

Clichés include phrases such as:
    •    A bun in the oven.
    •    A diamond in the rough.
    •    When all is said and done.
    •    When it rains, it pours.

These are just a handful of examples, and of course there are many more and ohmygah. I’m already in hives and I haven’t yet read your virtuosic over-use of “through thick and thin” yet. NO. Stop it. I implore thee. 

Clichés are placeholders for real thought. A writer will insert a cliche that makes sense because they don’t want to spend time thinking of a new way to say it. They sneak in when you're tired or rushing or trying to sound like “a writer.” You are better than this. Instead, try to write the same idea in a different way. (And hot tip: first draft cliché placeholders are fine while you wait for something better to manifest, just be SURE to replace them in the next draft. Your secrets are safe with me).

 Don’t write like a robot who read too many Tumblr posts in 2011. Say it the way your weird little brain sees it.


6. Skipping the Hard Emotional Work
A novel isn’t just stuff happening—it’s how your characters feel about what’s happening. Don’t be afraid to go there. Don’t avoid the challenging scenes that require utterly true, un-choreographed emotionality. Emotional truth is what keeps a reader turning pages. If you the creator flinch away from it, the reader will feel the gap.

 

And here is where I get extra real with you. 

Listen, oh valiant writer, dreamer divine and creator extraordinaire: You cannot write something truly great without letting it cost you something. Not everything. But something.  You can write clever plots, interesting characters, and even very pretty sentences from a distance—but the work that moves people will ask you to walk through the fire yourself. There is no shortcut around sitting right in the center your grief, your rage, your shame, your longing, the ugliest parts of you, the most out-of-control parts of you, the humiliating and human parts—all connected to your deepest ache for belonging. 

 

So if you are—even inadvertently— trying to skip that part? You must take a deep breath, and find your courage. 

 

I know. I know personally how valiant an ask this is, on several artistic levels. But if you are in any way waiting to be less afraid, less messy, or more “ready” or “perfect”—you're not creating art, you're managing your image. 

And hey; that’s okay. Many of us start there. 
But if you want to go further, deeper, fuller, richer— the page or stage or screen or canvas MUST become a place where you are more honest, authentic and unabashed than your are polished. As Brené Brown says, “You can choose courage or you can choose comfort, but you cannot have both.” Art requires the choice of courage.

Try this: 

    •    Write the scene you’re avoiding first. Get it over with. It won’t kill you (probably).
    •    Journal as your character. What are they really thinking but too scared to say?

    •    The next time you find yourself resisting a scene, a character, or a theme—pause and ask: what am I protecting myself from? That’s often exactly where the gold lives. You don’t have to bleed all over the page, nor exclusively suffer to make worthwhile art, but you do have to tell the truth—especially the emotional truth you’re tempted to sidestep.  

 
Write the embarrassing version. The “too-much” version. The version you’d never read aloud at a dinner party. That’s the one with life in it. The only way out is through. And when you come out the other side, you won’t just have a better draft—you’ll be a braver artist. And person. 

 

Finally:

 
You made it through Round Two and didn’t throw your laptop into a ravine—I’m proud of you. The truth is, every writer makes these mistakes. But not every writer is brave enough to admit they’re just out here vibes-ing their way through chapter 12 with no outline, hoping the muse shows up like DoorDash. But you? You showed up, officially one step closer to writing a novel that doesn’t make readers scream “WHY” into the void. 

Keep going. 

© hula seventy

42

PRIME TIME. 

 

Here’s to one great trip around the sun, and raising a glass to what  feels like juuuust might be the best year yet. 

 

Something deep, ancient and crucial has shifted in me this last year— it feels like the greatest act of “becoming” and of true maturity I’ve ever experienced. It was? Uncomfortable! But it was also—as all expansions are—worthwhile. I’m grateful for all the “teachers”that appeared around me. 

 

If we accept the notion that life itself is a gift, than that means it is ALL a gift, not just the wins and joys. But also all the adversities, losses, and the Unimaginable. And thus, if we are indeed grateful for the gift of life, than we have to be grateful for all of it. 

 

And I am. 

All the pains. 

The grief. 

The losses. 

The twists and turns. 

The mistakes. 

The agonizing realizations. 

I am grateful. 

It’s all life. 

 

Reflecting upon things today, I now realize that while I was quite “productive,” I truly lost almost all of my 30s to illness at an age when I might have made greater inroads on my original “little Al” dreams. I had to learn to be grateful just to …still be here at all. Thank everything, I am. 

 

Because in the quieter moments I now realize the experiences shaped me to become someone who valued and wanted different things. By surrendering (not collapsing! Surrender and “giving up” are not the same thing!) to the winds of life and the workings of the divine, I allowed life to work upon me and show me things, skills, desires, capacities, that I never knew were possible. 

 

I feel like this year I am properly beginning my “Second Act.” And I say? Bring it on. 

 

So. Here’s to PRIME TIME. 

 

 

“The Curious Case of ‘The Other Iain’ - an AFOOT story

As part of the Edinburgh version of Whisper Walk from the "AFOOT" series, I give you one of the monologues/short stories I have composed for this deliciously Scottish incarnation (that we on the creative team refer to a "whispers.") 

From the press release:  

Confessional stories, unuttered truths and personal memories are whispered through headphones in a documentary-style walking tour through Edinburgh. Whisper Walk is partly inspired by the Japanese Kaze no Denwa (“wind phone”) and explores how memories are deeply connected to a seemingly ordinary place. Each audience member, equipped with their smartphone and a pair of headphones, is guided through Edinburgh as voices gently whisper stories and personal memories tied to the locations they pass. As participants become trusted confidants, they are invited to contribute their own place-related memory – whispered into a phone placed at the end of the Whisper Walk – to be archived in the ever-growing Whisper Museum.

Writer Alexandra Silber said, “Whisper Walk is, I think, a really beautiful and unique storytelling theatrical experience, under the notion that places hold memories. It explores the notion that our memories are tied heavily to place, and sort of revels in the idea that a seemingly ordinary, singular, flat park bench, a tree, a series of steps, a street corner, a churchyard, a pub, a very specific cross-section of longitude and latitude, can contain a multitude of stacked memories belonging to countless people—really holding these stories and memories from every human who ever crosses that location. This is very much the way we receive podcasts nowadays, and certainly builds upon the radio drama tradition, but the individual audience member, as a result of this, will end up in a specific geographical place and will hear a story about the place in which they are standing, and thus serves as a confessional, a confidant, a stranger on the road to whom the speaker of the story can speak more candidly than to a regular person in their everyday lives.” 

And so, with that. Enjoy this sneak peak and see you in Edinburgh, this August, afoot! 

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Set: Cowgate under George IV Bridge, Edinburgh

I am Iain Angus Campbell— the first one, or at least, the one telling this story—and I am  standing under George IV Bridge with a large cardboard box labeled “FOR THE OTHER IAIN” and the vague feeling that I have slipped through a tear in the fabric of space-time.

Inside the box I am holding is:
    •    Three veterinary textbooks written in German (I do not read German)
    •    A framed photo of a ginger man on a yacht  (I have never been on a yacht, only vomited near one)
    •    And a very personal letter from someone named Dimitri, written entirely in Cyrillic, which I am almost certain is an erotic poem. (Because, yes, I have had it translated.)

 It’s hard to explain: every time one receives a piece of correspondence with their name on it, one naturally assumes the correspondence is for them. But every time I open mail to The Other Iain, I am, at first, shocked. Then horrified. Then oddly aroused by the illicit nature of opening other people’s mail. I consider myself a relatively ethical person, and I’m not proud to have rifled through Iain Angus Campbell’s private things, read his mail, and texted back his exes. But what am I to do? For you see: THEY ARE ALL ADDRESSED TO “ME.”  

It began with a misdirected email from a veterinary clinic in Dundee, followed by a call from HMRC regarding unpaid taxes on my “falconry side hustle,” and climaxed with an offer to speak at a conference in Amsterdam on “large animal anesthesia”—a subject I know exactly nothing about because I mostly treat cats.

That was two years ago. 


 Iain Angus Campbell— the other one— is real. Or at least I’m real, and the universe has committed to a bit that is now years long and disturbingly elaborate. He has the same name. Is the same age. He is also a veterinarian. Also left-handed (?!) and green-eyed, and redheaded. The algorithms are confused. The tax office is furious. The dating apps are saturated with accusations.
We are, by all accounts, statistically indistinguishable. 

And? We have never met.
Not in the flesh. Not once.
Until—apparently—today.

I got a text:

        “Iain. It’s Iain. Let’s exchange boxes. Cowgate. Under the bridge. Three.”

Which, yes, sounds murder-y. (Or like a compelling romance!) 

But anyway here I am. Under the bridge. With my box. Wearing my jacket. Holding my nerves together with the fragile glue of one too many espressos. And spiraling.
Because if this man is me—not just like me—then what am I, exactly? 
Some early prototype? 
The version of Iain who never had the courage to move to the Netherlands or take up falconry or respond to Dimitri’s love note? 
What if I meet him and I’m just the “Beta Iain?”
Or worse— oh, God: what if he doesn’t show up?

I check my phone. 

3:12.

 Iain is late.

Or maybe early. 

Or maybe me. 

I don’t fucking know.
And I think, not for the first time:
If this isn’t the matrix, then maybe it’s something worse.

Maybe it’s a love story.
But only one of us gets to tell it.