Archive for the ‘Uncategorized’ Category

Clarion Envy

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I saw some­thing last night that pointed out that Nathan Ballingrud, Cory Doctorow, and Jeff VanderMeer were all in the same Clarion class together. These are three absolutely amaz­ing authors, and if you’re not famil­iar with them, check out their work.  Anyway, I seem to have fix­ated on this fact all night, because I woke up angry and sad that I can’t attend Clarion.

I some­times ask friends in the field if I should go, and  most say that Clarion wouldn’t help me, that I’ve got­ten a few sales and I’ve learned what I would prob­a­bly learn there, but you know, I look at the field and nearly every­one has attended or taught there.  I can’t escape this fear that Clarion teaches some inef­fa­ble thing that I don’t have, that if I could just get my hands on, my sto­ries would start work­ing and sell­ing to pro markets.

At the very least, the instruc­tors and edi­tors invest some of their knowl­edge in you when you’re there, telling you why a story doesn’t work instead of just reject­ing it.  I feel like right now, I need some­one to take what I’m pro­duc­ing and tell me how to fix it.  I know how to break them.  How do I fix them?

There for a while, I was con­tent to just be writ­ing again, but now I’ve accu­mu­lated a bunch more rejec­tions and I’m back to hat­ing every word I put down, back to feel­ing “the suck.”

Maybe I will just apply to go next year.   Assuming I don’t stum­ble onto bet­ter writ­ing between now and then.  I’m tired of beat­ing my head against the same bar­rier.  I’m stuck in the same point I was sev­eral years ago, and I don’t know how to progress any fur­ther in my skill.  Maybe I never will  advance fur­ther. Maybe I wouldn’t even get in–then I guess I would know it would be time to hang up my hat.

This has been your weekly writ­ing whin­ing post. We now return you to Kansas anec­dotes and other more upbeat posts.

Out of Contact (mostly) for a week

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I am trav­el­ing to Kansas for a fam­ily funeral start­ing tomor­row after­noon, and will be out of con­tact for the rest of the week except for emer­gen­cies.  I’ll be spend­ing the fol­low­ing week back home and will be work­ing then, so if it’s not urgent, you may not hear from me until this com­ing Monday.

Why I read books on writing

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Someone asked me the other day why I read books on writ­ing. I’ve been doing this for 10 years or so, so I should prob­a­bly have a han­dle on it, right?  Well, ignor­ing that last ques­tion, I had to think about it.  All I can really offer is this metaphor.

Our poten­tial as writ­ers to a cer­tain degree is locked inside of a box inside our minds.  One which we don’t inher­ently have the key for.  There are a lot of boxes, actu­ally, and a lot of keys.   A book on writ­ing is a new key that we can try on the boxes.  Sometimes, it opens one up, and we gain access to some­thing new, deeper, more profound.  

I’ve unlocked a few boxes in my time, but I have this sense that my head is like the ware­house at the end of Raiders of the Lost Ark.  There are count­less boxes wait­ing in the back.  And so I keep try­ing keys on them.  Because they’re there, and I want to know what’s inside of them.

And so maybe this post will be a lit­tle key for you, if I’m really lucky.

Memories of a Grandfather

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Yesterday was the anniver­sary of my mother’s father’s death, Donald Ackors.  Actually, as  I write this, it’s today, as I tend to write posts the day before and then sched­ule them.

I want some­how to sum­ma­rize in a few short words what kind of man he was.  What kind of impact he had on me.  There’s more than just his genes in my blood.  Bits of his char­ac­ter, his per­son­al­ity, have passed on to me too.  I feel like the more I under­stand the man, the more I under­stand myself.

I have his ears, when it comes to phys­i­cal traits.  I have enor­mous ears that stick out from my fat head.  When I was younger, this was espe­cially dis­con­cert­ing and kids called me “Dumbo.”  Any time I got upset about it, I remem­ber my grand­fa­ther show­ing me how he wig­gled his ears, and I felt bet­ter about it for a while.

He worked most of his life at a Goodyear tire fac­tory.  All the details about the tire plant in  “Work, With Occasional Mole Men” come from grow­ing up around him. The lay­offs, the strikes, the long late shifts.  My grand­fa­ther worked nights for much of my early child­hood.  We had to be quiet on the front porch next to the bed­room so we didn’t wake him while we played.  I some­times thought of him as a sleep­ing bear in there.  You did not want to poke that bear.

I asked him once, later in life, what he did at his job.  He said “mostly, I sign papers.”  He said he signed so much paper­work, it hurt his arm.  I asked why he couldn’t just get a stamp.  I can’t remem­ber what his answer was, but I know he laughed at that.

God damn, did that guy like to laugh.  He loved laugh­ing and he loved food.  I can’t over­state how much he loved food.  Not fancy food, either.  Anything.  Some days later in life he would spend the after­noon talk­ing and antic­i­pat­ing what­ever they were hav­ing for din­ner.  He loved good Mexican food, and would go to the ends of the Earth for a proper tamale.

He loved fam­ily, too.  He told me once that he wished he had spent more time with them and worked less. Most of us end up with that regret.  Hard to learn that les­son, somehow.

I remem­ber the day I real­ized he was human.  My fam­ily plays a team card game called Pitch.  You cap­ture suites of cards for points and such—I don’t really know how to explain it.  My grand­fa­ther was a demon at it.  I was just learn­ing how, and he was help­ing me, stand­ing over my shoul­der. I was just start­ing to get the han­dle of it, and he gave me some bit of advice and I snapped, “I don’t need your help!”  He walked away with­out a word.  Everyone else got very quiet.  I remem­ber the look on his face, like I’d slapped him.  I felt hor­ri­ble, but I was shocked to know that he could be vul­ner­a­ble to me like that.

He read romance nov­els by the pound.  Seriously, they didn’t by them by the book—they went to a used book store and bought them in tied up gro­cery bags by weight.  I never saw him read­ing any­thing other than a romance novel.  Tough fac­tory worker, born in the desert, a fish­er­man and a hunter.  And he devoured a dozen Harlequin romance nov­els a week.

One of his bud­dies from his time in the mil­i­tary once said: “You never saw Don with­out a book in his pocket.”  He looked like James Dean, but with a romance novel in his pocket.  He got a lot of action back then, or so I am told.

It’s hard to talk about him with­out talk­ing about his wife of 40-​​some years, Janet.   He loved to laugh, and my Grandmother loved to make him laugh.   They bick­ered and ban­tered in a way that I can only aspire to.    After she passed, I asked him once how they had done it—stayed together for so long.

He strug­gled for an answer.  Thought long and hard before speak­ing.  Then he said, sim­ply “I loved her.”  No star­tling wis­dom. Just a sim­ple truth.  He did love her.   We all did.

I can’t actu­ally sum­ma­rize the man in a few words, at least not to do him jus­tice.  He deserves an epic, a biog­ra­phy.  Not just a few words typed up one after­noon on the anniver­sary of his death from a heart attack.  Odd, that he had a pace­maker which was sup­posed to help pre­vent such things.

My mother said that he prob­a­bly felt the thing going off and didn’t do any­thing about it. He missed my grand­mother too much.

The Christmas before that, Sarah and I were back home.  The whole fam­ily gath­ered at the Carbondale City Hall and had a feast.  I asked him ques­tions about what it was like to serve in the UK in the 50s.  I asked him how long he had been over there.  He told me down to the minute. I wish that I remem­bered exactly how long it had been.

It was our… first or sec­ond? Christmas after Janet died.  He had lost a lot of weight and was look­ing good. He was tak­ing care of himself.

When we were get­ting ready to leave, we hugged him and said good­bye.  He never hugged, not ever. He wasn’t that kind of affec­tion­ate.  It was an awk­ward hug, but a long one.

We’ll see you next year,” I said.  And he gave me a sad look and said “I sure hope so.”

Somehow, he knew that would be the last time we would see each other.  I wish I’d said more then.  I wish I had told him how much of an impact he had on who I was.

But then again, I think some­how he knew with­out me ever say­ing a word.

A few choice quotes from Nick Mamatas’s STARVE BETTER

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On story “hooks”:

The start of a story, its first para­graph, should assure the reader that they are in capa­ble hands.  The begin­ning of the story should tan­ta­lize, not hook, the reader.

On the use of scene breaks:

If a scene break were a phys­i­cal item, it would be an 800-​​pound gong.

Ever since read­ing that line, I now men­tally hear an audi­ble GONGGGGG every time I see a scene break.  Thanks, Nick!  You’ve ruined my brain.

On end­ing stories:

That’s how you end a story: with a) a bang and b) leav­ing the reader hun­gry for more.

These are just small sam­ples of the wis­dom con­tained within, per­ti­nent things I high­lighted and noted in the Kindle app while I read.  There’s so much more.  Nick writes with a com­bi­na­tion of vit­riol and patience that is unique. He has what you might call a “no non­sense” style, and he has a rep­u­ta­tion for being a bit caus­tic.  But he knows his stuff.  He’s one of the best edi­tors (and a fan­tas­tic short story writer as well) work­ing in our lit­tle field today, in my opin­ion, and he puts up with my stu­pid ques­tions constantly.  .

You can buy the book here.  I highly rec­om­mend it.  There were swaths of it I had read, but reread­ing them turned out to be very valu­able.  I read it in one long sit­ting last night, and the ebook is priced affordably.

Next, I’m read­ing a cou­ple of things—Farwell, My Lovely by Raymond Chandler and another thing for work.  Chandler’s descrip­tive pas­sages are the best thing.  Ever.  He wins at descrip­tions.  Everyone else is a run­ner up at the county fair.  Of descrip­tions?  Crap. 

See?  He would have said that better.

Having Something to Say

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I’m hav­ing a lot of luck writ­ing words lately.  There’s just one prob­lem;  they’re not meet­ing my rig­or­ous qual­ity stan­dards out the gate.

I’m torn between want­ing to be a good writer and a paid one.  Is there a dif­fer­ence?  Can you live on $10,000 every 5 years?  Quality takes time, and time is money.  The two are not mutu­ally exclu­sive, but they don’t nec­es­sar­ily go hand-​​in-​​hand.  If I am forced to choose my cri­te­ria for suc­cess, it would be a large fan­base and prof­itable projects  enough to keep me in the lifestyle I have come to expect. You know, vis­it­ing the den­tist once every ten years and trav­el­ing to con­ven­tions every five.

Like most every other aspir­ing writer you know, I wouldn’t mind mak­ing a liv­ing from my efforts.  Actually, when busi­ness is good on the free­lance web front, I’m not that con­cerned about it.  When busi­ness is weak like it has been lately, I’m all “OMG, gotta write six short sto­ries and try to sell them all.”  Because short fic­tion is so profitable.

No, I know, short fic­tion isn’t going to pay the bills.  And that would be why I wrote a deeply flawed novel this month!

I’m con­flicted a lot about what I’m turn­ing out because I’m not sure that what I have to say mat­ters.  I don’t always even know what I want to say.  Since col­lege, I have this deep sense that I live too much on sur­face thoughts.  Critical think­ing and form­ing of deeply held opin­ions isn’t some­thing I get up to as much as I did when I was younger.    My thoughts rarely go beyond “how can I pay the rent next month with­out dip­ping into sav­ings?”  I don’t spend a lot of time pon­der­ing free­dom vs. secu­rity or what it means to be grow­ing older in a soci­ety that increas­ingly val­ues youth above all other per­sonal traits. (Freedom prob­a­bly, and “it sucks”.  Now where’s my Nobel?)

You have to do some deep think­ing in order to form the opin­ions that are the core of “hav­ing some­thing to say.”  Especially if you plan on offer­ing any kind of unique insight.  For instance, “mur­der is bad” is a lit­tle played out.  However, “mur­der is okay when it’s a clown” is, ignor­ing the moral impli­ca­tions of such a mes­sage, at least some­what original.

So I’m work­ing on that.  I’m also back to think­ing a lot about sto­rycraft.  Because I don’t always know what to do next when I write a story. I don’t know implic­itly what makes a suc­cess­ful story, at its core.

What I’d like to do in the next year is learn story.  Learn my craft, so that I can focus less on “how do I end this story so it feels sat­is­fy­ing?” and more on hav­ing some­thing more to say.   I keep com­ing back to this issue of sto­rycraft.   I know I can do it by acci­dent. I would just like to be able to do it consistently.

I want to be the depend­able writer edi­tors can count on in a pinch.   I want to be the guy you go to for an odd anthol­ogy theme, know­ing that you’re going to get some­thing fresh and enter­tain­ing.  I  don’t want to be boxed into a par­tic­u­lar sub­genre (epic fan­tasy, hard SF, etc).  Like I am in a more broad sense, I want to be a gen­er­al­ist when it comes to the things I write about.

I actu­ally really want to write on-​​spec nov­els.  I want to play in other uni­verses not my own.   I want to write for video games. I want to write comics.  Screenplays. I even want to write more nonfiction.

Do you have tips for mas­ter­ing story?  How to make those choices in the course of a story to make it have that “oomph” in the end that makes a reader value the time they spent inside your head?  Share them in the comments.

Ten years into my writ­ing and I still feel like a jour­ney­man at best.   The most impor­tant trait of being a writer some­times feels like stubbornness.

Things I know I shouldn’t do, but do anyway

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  1. Complain about free soft­ware ser­vices.  Damn it, Google, why does your cal­en­dar site always break when I want to sched­ule my mid-​​afternoon nap?
  2. Nap when I should be work­ing.  Lunch makes me sleepy, and if I nap, then I’ll get more done after­wards, right?  No, not even a lit­tle bit.
  3. Take long lunches and eat out of the house.  All they’re going to do is make me sleepy and make me want to take unnec­es­sary naps. I should be sat­is­fied with bread and water.
  4. Eat things that aren’t good for me.  Like enchi­ladas cov­ered in creamy poblano sauce.  And I pick out the veg­eta­bles, which I shouldn’t do either.
  5. Drink diet soda.  I’m prob­a­bly more can­cer than man now, but I need the caf­feine and I can’t stand the smell of cof­fee, let alone the bit­ter, awful taste. 
  6. Complain inces­santly about how writ­ing is so hard and I’m so bad at it, why can’t I be any good?  Boohoo!  Shut the fuck up and write.
  7. Writer ter­ri­ble filler blog posts when I can’t think of any­thing valu­able to say. I’m wast­ing people’s pre­cious time here.  You could be look­ing at lol­cats and porn, for God’s sake!

For seri­ous, there’s not a lot going on over here worth men­tion­ing.  I’m con­tin­u­ing to work on a lit­tle comics script that’s pass­ing the time.   I’m read­ing The Freelancer’s Survival Guide by Kristine Kathryn Rusch and it’s rein­forc­ing some lessons I’ve learned the hard way.  I’m not entirely sure what I’ve learned so far, and I’m halfway through.  I really wish this book had existed when I was laid off back in 2009 though.

I’m also spend­ing about half my wak­ing time think­ing about what I did wrong in my book and won­der­ing if it’s worth try­ing to fix (it prob­a­bly is, just for the learn­ing exer­cise if noth­ing else).

What about you?  What do you do that you know you shouldn’t?

Knowing Yourself is Overrated

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Our cul­ture lately puts a lot of stock in “know­ing your­self.”  Knowing who you are, your strengths, your weak­nesses.  Your pas­sions.  I’ve heard it said even that before you can write, you must know who you are. 

Utter hog­wash.

Writing is as much about the act of dis­cov­ery as it is any­thing else.  The way I see it, the “me” who is aware of what he does is a small frac­tion of the entirety.  There’s this mas­sive sleep­ing giant beneath that that wakes up very rarely, but influ­ences every­thing I do—my sub­con­scious.  And my sub­con­scious is really the one earn­ing the liv­ing for us when I do cre­ative work.  It’s field­ing me the visual images, the themes… all the impor­tant stuff.  I do things like decide where to use the word “said” and where to use some­thing more col­or­ful, like “growled.”

I learn as much about myself but what mys­te­ri­ously ends up on the page as I do through any kind of seri­ous intro­spec­tion.  And it’s not all good, either.  I have some seri­ously screwed up ingrained notions about some things that I find on the page and have to cor­rect.   I hope one day I’ll cor­rect that shit enough that the cor­rec­tion will become the real­ity, because I get a lit­tle tired of my sub­con­scious being so sexist—or whatever.  

And any­way, this idea that you can know your­self even par­tially com­pletely is silly because it seems to imply that we’re fin­ished and unchang­ing.  No, we’re all works in progress.  By the time you know one thing about your­self, it’ll prob­a­bly change, like some kind of Heisenberg prin­ci­ple of self-​​actualization.

Do I think it is impor­tant to explore your own nature?  Of course!  But do I think hav­ing some kind of neigh-​​complete land­scape of your own psy­chol­ogy is a pre­req­ui­site for good writ­ing?  Absolutely not.  I pre­fer to go wan­der­ing, per­son­ally.  Another one of those “it’s about the jour­ney, not the des­ti­na­tion” kinda things.  There sure are a lot of those crop­ping up as I get older.

Now Recruiting for the First Reader Brigade

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story-recruitment

The Pitch

My writ­ing career is in full swing again, and that’s some­thing to be excited about.  I’m going places, I tells ya.  Unfortunately, I don’t get things quite right on the first draft, which means I need help from keen-​​eyed read­ers such as your­self.   That’s right, I’m not per­fect.  I know it’s a shock to hear, but let’s keep it together.  I might not be per­fect, but you can play a part in help­ing me look that way.

What I Need From You

I need your sweet, deli­cious braaaaai­iin… to look over my early drafts of sto­ries.    I’ll email you and the other First Reader Brigade mem­bers copies of sto­ries in MS Word or RTF for­mat.   What you send back can be any­thing from a sim­ple one line, “didn’t like this because [rea­son]” to detailed line edits or multi-​​page cri­tique.  I’m happy for either.  Basically, I need raw feed­back to improve my work. The First Reader Brigade are stal­wart defend­ers of the read­ing pub­lic mak­ing sure that my worst schlock is never foisted upon their pure, untar­nished minds.

When I’m writ­ing short sto­ries, I pro­duce around one a week, some­times more.  When I’m writ­ing a book, I don’t send any­thing out at all for long peri­ods of time.  Until the book is ready.  Then you get a really big file.

Here’s the impor­tant part.  If you agree to join the First Reader Brigade, you are NEVER oblig­ated to read or respond to any­thing in par­tic­u­lar.  Pick what inter­ests you, and only spare the time when you have it to spare.  I’ll never harass you about send­ing me feed­back unless you ask me to do that.  There’s no pres­sure in this Brigade.  Just opportunities.

My friend Jay Lake works on this model—another writer who pro­duces quite a bit, and I think it works for him.  Hopefully it will work for me too.

What You Get From Me

My undy­ing love and grat­i­tude for one.  For sec­ond, if you’re a writer, then I ask that you send me your own sto­ries for me to return the favor.  If you’re not a writer, I’ll owe you a favor.    That favor is yours to define.   Think of how you might exploit the hell out of that.  The only stip­u­la­tion I can put on it is that I would pre­fer you not ask me to build you web­sites for free.  I want feed­back, but I can’t trade my poten­tial income away for it.   That said… advice, lit­tle fixes of odd bro­ken things, no problem!

And if it’s remotely pos­si­ble for me to add an acknowl­edge­ments sec­tion to the pub­lished ver­sion, you will be in it, even if I have to bump my own mother to fit you.  Unless you are my mom, in which case, er, guess you get men­tioned twice?

How to Join

Email me at jeremy@​tuginternet.​com.  That’s not my main address, but it’s one I expect to get spam at, so I am post­ing it here.  If you have a dif­fer­ent address for me, use it, no wor­ries.  Just let me know you’re inter­ested, and I’ll put you on my auto mailer list.

If you were look­ing for­ward to read­ing TAKEDOWN NOTICE or “The God-King’s Right Hand” then this is how you’ll do it.

I’m really deter­mined to be the best writer I can be.  But I need your help to do it.  I can’t see my own mis­takes very clearly, but to you I’m prob­a­bly just one huge mis­take so this should be a cakewalk!

J.A. Pitts on the Necessity of Blindness

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My friend and client J.A.  Pitts has an inter­est­ing guest post on Grasping for the Wind today about some­thing I’ve recently learned:

The Necessity of Blindness is that aspect of a writer who can­not see the flaws in their work at first. I fin­ish a story, and send it to my first read­ers, pray­ing it holds together, that the begin­ning, mid­dle, and end all align to the point that the reader has a ful­fill­ing experience.

About one half of the way through my recent novel attempt (fin­ished last Saturday, by the way), I started to really worry about how bad it was.   I started to lose my blind­ness to the flaws and it really slowed me down (rel­a­tively speak­ing).  I got basi­cally “stuck” at a lull between ris­ing action arcs and was wor­ried that every­thing I was doing was just ter­ri­ble.  The voice in my head said “give up.”

Luckily, the voice in my head that demands I stick to my sched­ule was stronger this time around, and after some tin­ker­ing, I was able to power through it.

Right now, I’m still think­ing about the book a lot–mostly, again, how much it sucks.  I’m slowly build­ing a list of how I might go about fix­ing var­i­ous parts that I don’t like.   But I’m not edit­ing the book yet.  I’m wait­ing for my blind­ness to fall away, as John sug­gests, so that I can see the book more clearly.  I’m pretty sure it’ll be both as bad as not as bad as I expect.  But at least I’ll be able to see it clearly.