by Lillian Csernica on August 6, 2018
On days when I’m not going to be leaving the house, I observe the time-honored tradition of working in my Bathrobe. By the end of the day I’ve usually accumulated an interesting variety of odds and ends in the pockets.
In my right pocket, where things most often end up, I have my comb, two small butterfly paper clips, an unopened alcohol wipe, and a green plastic fly.
In my left pocket, where I carry more important items, my SFWA secret decoder ring awaits being used on relevant emails.
My nightstand is littered with the bits and pieces I pull out of my pockets before I go to bed at night. I’ve learned to make a ritual of this. There’s nothing like a few harsh metallic noises coming from the washer or dryer to cause the Spousal Unit unwelcome distress.
There are different schools of thought on how writers should suit up for their daily work count. Some dress as if they were going to the office, because that is what they are doing. Some dress in a manner that helps them connect with the material they’re working on. I find that idea entertaining. If I were to dress in a manner suitable for the heroine of my current novel, I’d be wearing a yukata and zori. For the short story in progress, Victorian attire of the 1880s. Of the two I’d choose the yukata for summer comfort and ease of movement. I’ve worn corsets, but I confess I’m not a big fan of steel boning.
Pro tip: Nothing says we have to look like the back of the book photo all the time.
Back to the Bathrobe. Built for comfort, if not for style. When I’m writing, I want no distractions. If my shoes annoy me, I take them off. If the clip in my hair isn’t comfortable, out it goes. I’ve never carried this idea to its ultimate extreme, largely because I do most of my writing either at my favorite coffeehouse out in public, or here at home on the living room couch. Neither is an appropriate context for creating while I’m in my birthday suit.
I find that I do my best work when I’m comfortable. This means more than just wearing slippers and sitting in a comfy chair, although those can be important elements. I can’t write when I’m hungry. I really can’t concentrate when my blood sugar is low. I need a certain amount of background noise to help me focus. I don’t mind being a little cold, but I can’t stand being too hot. Total silence makes me jumpy, because the selective hearing I’ve developed over 22 years of having a medically fragile son keeps me alert for the sounds I should be hearing.
All this explains why I hang out at my local Peet’s Coffee so much. It provides everything I need to do good work.
There’s one really great aspect of the Bathrobe. Remember when we were little kids and pinned towels around our necks for capes? Or we used those old sheets to make a pillow fort? We could be anybody in those capes. The pillow fort could be a crater on Mars or the penthouse in Tahiti. That’s what the Bathrobe does for me. Because there’s no pressure, there’s no appearance to maintain, I can relax and be whoever I need to be for that day’s writing. Let the record show I own three different bathrobes.
In her article about Authors and the Clothes They Wore by Terry Newman, Vanessa Friedman writes:
As Ms. Newman discovered, Virginia Woolf actually had a name for this awareness: “frock consciousness.” She used it to refer to the way she employed clothing to denote character, and changes in character, particularly as they applied to her book “Mrs. Dalloway.” But really, it’s a (not surprisingly) perfect turn of phrase that could apply to us all.
What do you wear when you write? Do you have a favorite set of writing clothes?