One of my biggest regrets in my life is that I didn’t go to college. When I was 18 and desperate to get out of my parents’ house, I moved to Westwood, where UCLA is, and moved in with Hardwick, who I’d known for a little bit, and who was already attending.

I planned to enroll in two years of Extension, and then apply to the university after. I have no idea if that is even a thing that a kid can or could do, though, because the instant I started filling out my Extension forms, I panicked.

What if I didn’t know how to be a college student? What if I failed? I was certainly going to fail. I was a stupid actor. I knew that. Mrs. Lee told me that in 9th grade, and my dad has spent my whole life making it really clear to me that I was worthless (fun sidebar: when I was 19 or 20, I read The Portable Nietzsche. I thought a lot of it was bullshit nihilism, but some of it resonated with young me. I wanted to share that with my dad, whose approval and affection I craved, desperately. When I did, he told me I was “being a fucking intellectual” and “nobody likes a fucking intellectual.” I was so humiliated and kicked in the balls by that statement, I never pursued any further reading of philosophy, or mentioned it to him, again). I didn’t even have real public high school experience beyond one awful semester when I was a Freshman. I had no idea what to do, and I was so afraid of failure, I never turned the forms in.

Here’s how sheltered I was and how unprepared I was as a kid, crawling into adulthood: I thought you had to be in a fraternity if you were in a college. I didn’t know any better, and my dad was in a fraternity (which explains SO MUCH about what a jerk he was hashtag not all frat guys), and TV and movies were heavily focused on that whole thing, so I just extrapolated from what information I had and … well, garbage in, garbage out.

For years I told anyone who asked me about it that I had to withdraw because I was getting work as an actor. That’s partially true. I was getting work as an actor, but it wasn’t enough to justify not going to a single class. The truth was, I was terrified of the uncertainty. I felt like the only thing that mattered, the only thing I was any good at, was being an actor. And even then, at 18, I knew that it wasn’t my passion. I wasn’t ready to admit to myself that I was living my mother’s dream, and trying so hard to do the only thing I was good at because I hoped it would make my dad love me, but when I met other actors my own age who hadn’t been pushed into it by their parents, they had a totally different energy around them. They had this incredible and wondrous knowledge of theatre and film and acting technique, that they’d devoured and studied. They had the artistic calling, of art for its own sake.

I had the fear of failure, and the growing awareness that I didn’t love the one thing I was good at. And, I have to be honest: I wasn’t even that good at it, then. I was OKAY, but not great. I knew that, and I knew that I would get better when I understood technique the way those other young actors did, as opposed to leaning on the instincts and experience I already had.

When I got older and eventually went to drama school, where I studied Meisner Technique for years, I did get better. I’m good at it now, I like being on the set now, and I’m proud of the work I’ve done, even the stuff that isn’t that great like The Liar’s Club. That work and those years of study actually contributed to me finding my own path, and discovering the confidence to be a writer and storyteller. I learned when I was in those workshops and scene studies that the performing wasn’t what I loved; it was the preparation, the deconstruction of the scene and the character, the work that went into getting to know who the characters were and why they were in this scene, what was at stake, and what all their obstacles were. As a writer, now, I use all that training I had for scene preparation, when I’m creating a scene from scratch. It’s awesome.

But, way back in 1990, I was just afraid of so many things, and I wasn’t supported in the ways I needed, so I let that fear consume me, and didn’t attend a single class. I have always regretted that.

A few weeks ago, I decided that I was going to take an online course, not for credit, but just for knowledge. I looked at TONS of courses, and decided that I would take a writing course. I have a lot of practical experience writing essays like this one, narrative nonfiction, and short opinion pieces, but I have no formal writing education, beyond reading some books. This is not to say that reading some books hasn’t been helpful! I have learned a TON about structure and character design and pacing from books. I’m a competent fiction writer, and I credit the books I read with helping me understand my own writing process a little better.

But I decided to take a writing class, anyway, because I thought I would get some insights that would help close up the gaps in my knowledge. I spent a lot of time looking around online, and decided to take Brandon Sanderson’s course at BYU. It’s a series of 11 lectures and a Q&A, that was recorded in 2017. I’ve been watching one lecture a day, taking weekends off, and tomorrow I’ll finish.

It’s been a fantastic experience for me. I haven’t learned as much new stuff as I thought I would, but even more importantly, I’ve had many of my instincts and experiences confirmed and validated by someone I respect and admire, who is successful in my field. The new things that I did learn have been PROFOUND for me. Like, huge, epic, explosive revelations and insights that I did not expect at all.

The biggest revelation hit me this afternoon, as today’s lecture was wrapping up: I doubt myself way too much. I’m smarter and more capable than I was raised to believe I am, and it would serve me well to trust my instincts more. I should listen to my OWN voice when I’m creating, and not invent voices that criticize me, humiliate me, or minimize my accomplishments.

I got a lot of good, useful, practical, experience and knowledge from Professor Sanderson’s class, but the most profound thing I got out of it wasn’t even directly related to what he was teaching, which I believe is what going to college is all about.

I don’t know what it’ll be, but I’m going to start another course when I finish this one. Maybe something in history. I’ve always been interested in learning more about the American Civil War and Reconstruction, and that seems really, grossly, horrifyingly relevant to this moment in our history.

I’m really grateful that I can pursue knowledge for its own sake, and I’m even more grateful that I’m not afraid to do it.

Earlier this year, I made some significant and substantial changes to my life, continuing the process of growth and reflection that I started when I quit drinking almost four years ago. (Sidebar: it’s remarkable how much clarity I got, and shocking how much pain I was self medicating for so much of my life. I’m so grateful for the love and support of my friends, my wife, and my kids, who supported me when it was clear that I needed to get alcohol out of my life. Be honest with yourself: if you’re self medicating emotional pain and/or childhood trauma like I was, give some serious consideration to working on the root issues you’re using booze to avoid. I’m so much happier and healthier since I quit, and that’s almost entirely because I was able to confront, head on, why I was so sad and hurting so much of the time. I’m not the boss of you, but if you need a gentle nudge to ask for help, here it is: nudge.)

Anyway.

As I was cleaning up my emotional baggage, working on strategies to protect myself from my abusers, and practicing mindfulness daily, I realized that I had a ton of STUFF just sitting around my house, cluttering up my physical living space the way my emotional trauma and pain was cluttering up my emotional space. So I made a call, and hired a professional organizer to come to my house, go through all my bullshit with me, and help me get rid of all the things I didn’t need any more.

This process was, in many ways, a metaphor.

We spent several days going through my closets, my game room, my storage spaces in my attic and shed, and eventually ended up with FIVE TRUCKLOADS of stuff I didn’t need. Most of it was clothes and books and things that we donated to shelters, which was really easy to unload. I acquire T-shirts so much, I regularly go through my wardrobe and unload half of what I have, so it’s easy to get rid of stuff without any emotional attachments.

But there were some things that were more difficult to get rid of, things that represented opportunities I once had but didn’t pursue, things that represented ideas that I was really into for a minute, but didn’t see through to completion, things that seemed like a good idea at the time but didn’t really fit into my life, etc.

I clearly recall giving away a TON of electronic project kits to my friend’s son, because he’s 11, he loves building things, and he’ll actually USE the stuff I bought to amuse myself while I tried to make a meaningful connection to my own 11 year-old self, who loved those things back then too. When I looked at all of these things, I had to accept and admit that 47 year-old me isn’t going to make that connection through building a small robot, or writing a little bit of code to make a camera take pictures. I can still connect to that version of myself, but I do it now through therapy, through my own writing, my own meditation. For the longest time, I didn’t want to let these things go, because I felt like I was giving up on finding that connection I was seeking, but what I didn’t realize (and didn’t know until I made the decision to let it go) was that I didn’t need STUFF to recover something I’d lost and wanted to revisit.

I think that, by holding on to these kits and similar things, I was trying to give myself the opportunity to explore science and engineering and robotics in a way that young me was never given. Just about everything I wanted to do, that I was interested in when I was 11, was pushed aside, minimized, and sort of taken away from me by my parents. My dad made fun of everything I liked, and my mom made me feel like the only thing I should care about was the pursuit of fame and celebrity. Without parental support and encouragement, I never got the chance to find out if any of these other things would be interesting enough to me to think about pursuing them in higher education. Yes, for some reason, even when I was a really small kid, I was already thinking about where and when I would go to college. I never took even a single class, because I was so afraid of so many things when I was college age, but that’s its own story, for another time.

As we went through just piles and piles of bullshit, it got easier and easier to just mark stuff for donation. That drone I used to fly for fun, that I kinda sorta told myself would eventually be used to film something I wrote? Get rid of it, that’s never gonna happen. The guitar I kinda played a little bit when I was a teenager, but never really learned how to play properly? Give it to someone who is going to love it and play it so much, it lets them express their creativity in ways I was never able to. All those books I bought to make me a better poker player? Gone. All the books I bought to learn how to program in Python, Perl, Java, and even that old, used, BASIC book I picked up because I thought it would be fun to finally write that game I always dreamed about when I was ten? Give them all to someone who is actually going to do that, instead of just think about it.

It was, at first, really hard to get rid of this stuff, because I felt like I was admitting to myself that, even though I could paint all these minis (like I did when I was a teenager), even though I could study all of these books on Python and Arduino hacking, and probably make something kind of cool with that knowledge, I was never going to. I came to realize that having these things was more about holding on to the possibility that they represented. It was more about maintaining a connection to some things that once made me really happy. When I was a kid, I LOVED copying Atari BASIC programs out of a magazine and playing the games that resulted, because it was an escape from my father’s bullying and my mother’s neediness. When I was a teenager, I LOVED the time I spent (badly) painting Space Marines and Chaos Marines, because it gave me an escape from everything that was so hard about being me when I was 14. When I was in my late teens and early twenties, I spent hundreds of hours trying to learn the same five songs on the guitar, never mastering a single one of them. My time would have been much more wisely invested in learning the scales and chords that I declared were more boring than picking my way through the tablature for Goodbye Blue Sky.

And that all brings me to the thing that was simultaneously the hardest and most obvious thing to donate: all my Rock Band gear.

Did you know that the first Rock Band, which I and my kids and my friends played for literally a thousand hours, came out twelve years ago? Beatles Rock Band is a decade old this year. Rock Band 3 is ten years old, too.

I hadn’t played Rock Band in almost five years when my friend asked me what I wanted to do with all these plastic guitars, both sets of pretend drums, and all the accessories that were stacked up neatly in the corner of my gameroom.

But a decade ago, Anne and I would send the kids off to their biodad’s house, or to their friends’ for a sleepover, have some beers, and play the FUCK out of Rock Band, almost every Saturday night. My god, it was so much fun for us to pretend that we were rocking all over the world, me on the drums, Anne on the vocals. Frequently, we’d get the whole family together to play, and we’d spend an entire evening pretending to be on tour together, blasting and rocking our way through the Who, Boston, Green Day, Iron Maiden, Black Sabbath, Dead Kennedys, and others. It brought us all closer together, and was incredibly valuable for our bonding, at a time when we really needed that.

And I was holding onto all these things, these fake plastic guitars and who even knows how many gigs of DLC, because I didn’t want to lose my connection to those days. Part of me hoped that we’d all get together and play again, like we did when my kids were in their teens, like I would when I hosted epic Rock Band parties at Phoenix Comicon, or PAX, back before the world was on fire.

But when I looked at those things, neatly stacked up and untouched except by dust for years, I knew that we weren’t going to play again, and that I didn’t need these things in my house to validate the memories.

Back in those days, when Ryan and I would spend an entire Saturday afternoon and evening trying to complete the Endless Setlist on Expert (we never did, but we got to Green Grass and High Tides more than once), real musicians would smugly tell us that we were having fun the wrong way, that we should be learning REAL instruments instead of pretending to have already mastered them. I would always argue that the whole POINT of Rock Band was the fantasy. Can you imagine telling a 100 pound kid that he should be playing real football instead of Madden? Of course not, and yet.

But it kinda turns out that some of those smug musicians were right. As I packed up those plastic fake guitars and drum kits, put them into the truck with my real guitar, I had a small twinge of regret, that I had been focused on the fantasy, instead of developing a skill that I could still use today (the last time I attempted Rock Band, maybe four years ago, I couldn’t get through a single song on Hard, much less Expert. My skills had faded, and it wasn’t worth the effort to restore them). And then I stopped myself, because that’s EXACTLY the kind of thinking that stopped me from following my dreams when I was a kid. What was important to me ten years ago, what’s still important to me today, was the time I spent with my wife, with my kids, with our family, with my friends, pretending that we were something we weren’t. We were doing something together, and that is what matters. Today, I can’t recall anything specific about all the nights Anne and I played, though I know we worked our way through hundreds of songs together. But I can clearly recall how much fun it was.

Ryan and I still talk about the time I accidentally turned the Xbox off, when I meant to just power down my toy guitar, after we’d been trying to play the Endless Setlist on Expert for five hours.

Over the years, I had accumulated all this stuff that I was unwilling to let go of, because I felt like that would also mean letting go of the memories that were associated with those things. I felt like getting rid of things without following through on their intended use was admitting defeat, or being a quitter.

But after a year or so of daily, intense, therapy and reflection, after ending contact with toxic and abusive people who were exerting tremendous control over me, these things stopped being the keys to unopened doors, and they just became THINGS that I had to constantly move around to get them out of my way. Because I didn’t need them anymore. I don’t need to paint minis like I did when I was 15, because I’m not 15. I’m not living with an abuser and his enabler. I’m not working for a producer who makes it clear to me at every opportunity that he owns me and has complete control over whether or not I’ll have a film career. And I don’t need to paint those minis now, to honor and care for the memory of the 15 year-old I was. The best way to care for him is to care for me, so that the pain he endured is not for nothing.

I didn’t need ANY of these things, and once I realized that, unloading them and getting them to people who DO need them felt as freeing and empowering as writing a goodbye letter.

I kept a few things that were still useful, or brought me joy. Books, mostly, and of course all my dice and games. Lots of records, even some cassettes. It felt GOOD to admit that I’m never going to learn guitar, or build an Arduino-controlled anything. It felt GOOD and empowering to know that I’m a writer. I get my joy and explore my possibilities through storytelling and character development. THAT is what I love, and by getting rid of all this old stuff (and its emotional baggage) I created space in my life to be the person I am now, a person I love, in a life that is amazing.

I still have some emotional clutter, which is to be expected and isn’t a big deal. The really cool thing is that I have physical and emotional space, now, to deal with it.

Wil Wheaton loves to tell stories. He’s been doing it his whole life.

By age ten, he had already been acting for three years. In 1986, at age 12, he earned critical acclaim as Gordie Lachance in Rob Reiner’s Stand By Me; at 14, he began his four-year turn as Wesley Crusher on the hit TV series Star Trek: The Next Generation. 

Since then, Wil has appeared in dozens of films and TV series, with recurring roles on TNT’s Leverage, SyFy’s Eureka, and the hit webseries The Guild. He is the creator, producer, and host of the wildly successful webseries Tabletop, credited with reigniting national interest in tabletop gaming. Most recently, he played a fictionalized version of himself on CBS’s The Big Bang Theory, one of the most highly rated and watched sitcoms of the last decade.

An accomplished voice actor, Wil has lent his talents to animated series including Family Guy, Teen Titans, Guardians of the Galaxy, and Batman: The Brave and the Bold. His video game credits include four installments each of the Grand Theft Auto and Tom Clancy’s Ghost Recon series, as well as Fallout: New Vegas, DC Universe Online, and Broken Age.

His audiobook narration of Ernest Cline’s Ready Player One debuted at number one on the New York Times bestseller list, and was one of Goodreads’ 10 Best Narrator and Audiobook Pairings of All Time. He has also lent his voice to titles by John Scalzi, Randall Munroe, and Joe Hill.

When he isn’t acting, narrating, or podcasting, Wil Wheaton is writing. 

A lot. 

He is the author of Just A Geek, Dancing Barefoot, The Happiest Days of Our Lives, Hunter, and Dead Trees Give No Shelter, plus a forthcoming novel, All We Ever Wanted Was Everything. He has contributed columns to Salon.com, The A.V. Club, LA Weekly, Playboy, The Washington Post, and the Suicide Girls Newswire.

In recent years, Wil has earned recognition as an outspoken mental health advocate, chronicling his own journey in his blog and as a public speaker for the National Alliance on Mental Illness. His powerful, candid essay about his struggle with chronic depression and anxiety garnered national attention.

Wil lives in Los Angeles with his badass, irrepressible wife Anne, two rescued dogs, one cat, and two vintage arcade cabinets. If you’re not a robot, you can reach him at: wil at wilwheaton dot net.

Hey nerds, check it out!!

It’s almost time for the Wiggle Waggle Walk with Pasadena Humane Society, and Anne and I are raising money to support the animal shelter that gave us Seamus and Marlowe!

We’re selling these T-shirts through my Cotton Bureau thing to raise money for our Wiggle Waggle Walk team. 100% of the profits from this sale will be donated to PHS, so they can continue to help animals find their forever homes.

This adorable design was dreamed up by Anne, and brought to life by Riley at Stands, who I’ve worked with on other super awesome stuff, including the Owl Bear Preservation Society, and Roll Model T-shirts.

Can I just take a moment to publicly thank Michelle and Riley at Stands? They are awesome humans, who insisted on doing this work for us for free, because they love animals as much as we do, and they are committed to putting more joy and love into the world. One of the best things about my privileged experience in this life is getting to work with people who are awesome, kind, good people, and I’m grateful to Michelle and Riley for choosing to be two of those people in my life.

If T-shirts aren’t your thing, and you still want to support us, you can contribute anything you can afford directly to our team and it’ll significantly add up. Seriously, so many of you can potentially see this — like it’s over three million, according to WordPress — if just half of you donated three bucks, we’d raise a crapzillion dollars to help the future Seamuses and Marlowes of the world get good care and a chance to find their forever families. I think that would be awesome.

But, honestly? I hope you’ll get one of these T-shirts, because this campaign is about more than supporting PHS. This campaign is about putting something joyful and positive into a world that needs all the joy and love it can get.