Met Lew Hunter!

I had the opportunity to go see Lew Hunter (of UCLA’s famed screenwriting program, as well as instructor and author of “Screenwriting 434”) speak on the 18th! He was terrific, although the class was very, very elementary. The thing that makes him great is that he is such an every-man, and his language and tales from the trenches make it seem as though you really can accomplish your dreams of being a successful screenwriter.

Contrast that to say, Harlan Ellison, who unless you have 60,000 word vocabulary and speak in nothing but 4-10 syllable words you are an idiot (and he will let you know it on the spot). Sorry, Harlan. You are still one of my idols, but man, do you have sharp teeth.

At any rate, Lew quoted Nelson Mandela’s inaugural speech, which contained a passage that resonated with me tremendously. I later found out that the passage has been mis-attributed to President Mandela, and is actually the work of Marianne Williamson from her book, “A Return to Love”.

The quote was this: “‘Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us.’ We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There’s nothing enlightened about shrinking so that other people won’t feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It’s not just in some of us; it’s in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we’re liberated from our own fear, our presence automatically liberates others.”
(A Return to Love: Reflections on the Principles of “A Course in Miracles”, Harper Collins, 1992. From Chapter 7, Section 3])

Several years ago, I said something that seems to encapsulate the essence of this very passage, and now, FWIW, I give it to you:

Dare to dream, but have the courage to succeed.

Go forth all and fulfill your dreams and destinies to the hilt for the world needs greatness at ANY cost.

Worst Work-Related Injury

I thought this might be a fun, albeit gruesome, little bit, and since I have a particularly nasty one, AND am feeling a bit impish, I’ll go first.

The only rule is that it must be work-related. You know, fingers in splints from those 23-hour coding marathons, or compound fractures of the carpal tunnel… that sort of thing.

Here is mine:

I got this while fight choreographing a video for the song “Freya” by “The Sword.” The shoot was a blast. The band was just awesome, truly a great bunch of guys that I wish only the best for, and director Barnaby Roper was a joy to work with.

I arrived on set while the band was shooting their sync shots, so the other actors and I decided to warm up a bit, and just get used to the feel of the weapons.  We had an array of prop weapons, made from plastic and high-density foam, plus one real, live-steel sword that would be the primary character’s weapon.

After a few minutes of moving around the space, one of the over-zealous actors said, “Oh, cool!  A REAL one!”  He grabbed the live-steel sword and began waving it around in a very unsafe manner, sending all of us ducking for cover – literally.  Not wanting to assume leadership, but also not wanting anyone to get hurt, and realizing that I was obviously the only person there with any sort of weapons training, I offered to do a mini stage combat class for everyone’s safety.  This was met with thankful glances from the other actors, and afforded me the opportunity to gain control of the live-steel sword as my weapon.

When we finally began shooting the fight scenes, one of the actors suggested to the director that I be the lead fighter, but he had his eye on another person for that role… the “Oh, cool!  A REAL one!” guy.  I was worried for all of us, but with the work we had done in the class I figured we had handled the proximity issues and learned enough basic safety to get through the shots with no injuries.

After hearing the style and overall story, I offered to choreograph a lengthy battle that could cut as a single shot or be chopped up for impact and pacing.  The director agreed, and I took the actors, now in full armor and equipped with their weapons, out into the parking lot to begin.

It was hotter than hell that day, and we were all sweating profusely, which I figured would help further reduce any chances of injury as the plastic and foam blades would slide easily on our slippery skin.  After putting together a chain where the main fighter kills 8 consecutive enemies in a series of sweeping motions, he comes to the final foe, played by me.  He drops his sword and yanks a spear from the body lying at his feet and charges.  The choreography was set so that he would fake to my leg and as the thrust was moving to its target the spear would glide upward to enter just beneath the chin and exit the back of my head.  A fluid feint with a lethal outcome.  Since we were shooting behind a scrim we could do this such that the track I was working in was five feet upstage of the track he was working in.  The scrim would compress this for the camera and make it look like we were right on top of each other.

With the moves all set we ran the sequence several times at half-speed to make sure everyone knew exactly what they were doing.  It looked great, and I was very proud of it.  For increased safety, and a bit of polish, we decided to run it at full-speed.  As the body count grew, so did the fervor with which the lead actor portrayed his part, turning back into the dangerous sword-flailing “Oh, cool!  A REAL one!” guy from earlier in the day.  As he grabbed the spear and approached me for the final kill, our five feet apart, parallel tracks began to converge, and with great enthusiasm he faked the leg thrust and ran the spear into my arm.

Now, bear in mind that this spear-head is made of very flexible high-density foam, maybe a bit more stiff than your average mouse pad.  But somehow, overcoming the ease of bending, and my very slippery skin, he managed to thrust that seemingly-innocuous blade almost 5 inches up my arm, through the fascia and muscle tissue, stopping at the base of my tricep.

The actor froze, horrified, his face going gray with shock.  I, on the other hand, valiantly, heroically, courageously, looked down at my arm… and cried.  No, actually, I looked down at this six-foot long spear sticking out of my arm, and the first thing that went through my head was, “Wow!  That thing is really in there…”  And then without thinking at all, I reached down and wrenched the thing from my arm, releasing a wave of blood, and drawing shocked gasps from the crowd of people that had now formed.  I think that was when it hit me, and the shock set in.  I slumped against an open tail-gate of a pick-up truck, and one of the other actors rushed over, tearing off his shirt and tying a tight tourniquet just above the wound.  The spear-wielder was muttering, “I am so sorry…” over and over, and then the producer appeared to see what was going.  I was holding it together fairly well, but a wave of nausea washed over as he approached and I swooned a bit.  Then I realized that it was being compounded by the smoke from him nervously puffing on a cigarette.  “Uh, Thom… would you mind putting that out, or moving away for a bit?” I asked.  “Oh SHIT!  I’m sorry…”

Next thing I knew I was in his car rushing to Cedar’s Sinai Emergency Room.  And then the fun began.  I got in very quickly, and when the attending physician heard my story, he looked me directly in the eye and said, “Well why did you take it out?!?!  That would have made a great photograph!”  I needed, and appreciated the humor, which made me feel much better.  I was turned over to a male nurse, a truly MASSIVE Samoan with a similar sense of humor, who proceeded to wash and debride the wound with syringes full of betadine.  I told him that the spear had gone far up my arm, indicating the point where it stopped beneath the flesh, and he responded with, “No way…”  I assured him it did, so he filled a 10cc syringe with betadine, and fitted it with a splash guard.  He then pressed it hard over the wound a jammed the plunger down.  The ENTIRE 10ccs disappeared into the wound and up my arm.  The nurse looked me right in the eye and uttered a heartfelt, “Whoooa…”  He cleaned me up, the doc came in a sewed me up with 10 stitches, and sent me on my way.

Back on the set we managed to get the choreography captured with no more injuries, aside from me bursting two stitches in the final death scene.

That’s mine.  Now, tell me yours!

Liquid Violation

The alien blood coursed through my vessels unfelt, but I knew it was there.  It didn’t burn like I had expected, searing my veins with its preternatural cold, slowing my metabolic processes to a near halt by the sheer “wrongness” of its presence.  Nor did it make me ill, inciting my body’s defenses to riot against the intrusion, as I had heard can happen.  It just flowed into me, drop by excruciating drop, torturously slowly, meticulously, mechanically, with all of their technological precision.  Paralyzed with exhaustion and fear, I could do naught but lie on that unforgiving slab and let it happen.  My mind reeled with plans for escape but all required more strength and fortitude than I possessed.  The mind-shattering reality that this thing that I had grown up fearing, yet which was now so commonplace in our forever-altered society, was actually happening to me had exacted such a toll that I was rendered a lifeless heap in sweat-soaked rags.

Their technicians had come and taken my own blood, sucking it from my engorged vein like vampires at feast.  They attached pulsating apparatus to my appendages and forced metallic tubes into my mouth.  Were they anticipating problems and trying to keep me alive, or was this some sort of monitoring of my body?  Finally, hours later, their leader came.  Standing over me with a glint of sadness in her eye, she pierced my chest with steel and plastic, driving in the delivery mechanism and sealing my fate.  My eyes closed involuntarily, and for a moment I honestly believed I could force my body to reject the inevitable; push the liquid back to its source before it ever touched my flesh.  I concentrated with all my might, but when I opened my eyes, all that I had accomplished was a tear.  The odd-colored fluid crept slowly, unwaveringly up the tube toward the needle emanating from my chest.  I could not stand the thought of it, and I was sure my mind would fracture from all of the screaming inside my skull.

The life-blood of a being is its most sacred and precious commodity – something that must remain unaltered, untainted and pure.  But somehow, they had found a way to infiltrate an organism through some sort of liquid violation, rendering it forever changed, yet not at all different.  Their propaganda tells of a more fruitful life.  A life of health, strength and recovery, but can that be possible when your very essence is being diluted?  The thoughts raced through me as the thirty-six inches of clear plastic tubing began to fill.  Only 10 inches left before my fundamental being was gone, and a hybrid left behind. Will my family recognize me?  Will I recognize myself?  Wondering if you would still see the world the same through someone else’s eyes, or still love the same with someone else’s heart, I lay there waiting…  wondering if I would still be ME with someone else’s blood.

The Greater North American Pookey
(A Brief Study of the Unique Species “Homo sapiens felis”)

The SUV of cats — a mix of Norwegian Forest Cat and Maine Coon.

Guys, as I understand it, are supposed to love dogs and hate cats, or, at the very least, be ambivalent about them. Cats are supposed to be “chick pets” just as “Sleepless in Seattle” was supposed to be a “chick flick.” Don’t get me wrong, I don’t want to start out on the wrong foot here – I LOVE dogs. All dogs. Big. Little. Fluffy. Wrinkled. Slobbering, slovenly, sharp, sophisticated. I love them all. But there is a place in my heart that dogs have never seemed capable of entering, and when I lie still in the dark of night and listen carefully, that place purrs.

I have had cats for as long as I can remember, and I have had all sorts of them. Feisty, flaccid, frisky, feral, and even one that was so deranged it actually pooped on my chest while I slept… but that is a totally different story. Each, much like a dog, came pre-packaged with a distinct personality, but with cats there is something more behind the eyes. An intelligence, if you will. They say dogs have the intelligence and emotionality of a two-year old child. I say cats have the intelligence and emotionality of a two-year old Machiavelli with a sprinkle of Marquis de Sade for flavor.

There was a line in the movie, “Meet the Parents,” where Robert De Niro tells Ben Stiller, “…cats make you work for their affection…” And it’s true. 99.23% of cats will not readily accept you from a sniff of the hand. You must prove that you are worthy of giving this self-important creature pleasure, lest you be ignored, at a minimum, or ripped and bloodied for more spectacular failures. Somehow, I had always been able to toe the line, proving my worth to just about every cat I had encountered, and I felt better about myself for it.

A rare moment of humility from this magnificent species.

One day, I woke up and realized that I had not had a cat for a couple of years, and somehow that was not at all acceptable anymore. So I looked through the want-ads and found a litter of kittens being given away. When I got to the house, I was met by 5 very playful balls of fuzz, but one stood out for some reason, and the other four seemed to disappear into the scenery. Perhaps it was because he was the most bold and curious; perhaps it was some sort of subliminal connection that we both felt; perhaps it was because he was gray. Whatever the reason, I am sure that fate had a great part of the decision.

I took the little 7-week old feline home and began the process of caring for him like any responsible young-adult would. He spent most of his time in my lap or arms, ate most of the same food I ate, and pretty much never left my side. He became fond of scaling my leg like some sort of denim-covered Sequoia, which was about as cute as it could get, until summer came around the jeans were traded in for shorts. He was, in a word, rambunctious. So much so, I actually named him “Booger,” but I usually ended up calling him, “Ouch, Asshole!”

I was sure that he would miss the socialization and acquisition of cat-skills with not having a sibling or other cats around to model, so when he wasn’t sleeping, we would play. Games like “Bowling the Kitty Across the Bed,” “Scotch-Tape on the Toes,” and “Pillow Walloping” we among my favorites. Oddly, the cat never mentioned his, but I was sure these little games had a great deal to do with the animal he grew into.

It didn’t take long for me to realize two things. Number one, “Booger,” and “Ouch, Asshole!” were horrible names. This occurred to me when an old friend came to visit and began calling my cat “Booger” as if it were nothing more unique than “Fritz,” or “Fluffy,” and it disturbed me. Number two; this cat had distinguished himself as a Class-A Curiosity in the feline world, graduating him from pet to roommate and entertainment source almost overnight.

Among the peculiarities that made him a Curiosity rather than just your run-of-the-mill weird cat were his absolute love of water, which we only discovered after he had taken to sleeping in the sink and refusing to move until we turned the faucet on him. Needless to say, this did not have the desired effect of permanently scaring him from his nest, but rather inured his position as King of the Sink. The cat was a cross between a Maine Coon, known for their intelligence and size (a good friend of mine calls them the SUV of the cat world), and a Norwegian Forest Cat, known for their intelligence, size and thick coat of long silky fur. The double-dose of smarts made him always seem to be looking disdainfully at you, to the point that for much of our life together I was pretty sure he was a person reincarnated erroneously in a cat’s body, but with the same sensibilities and inner monologue as a human. Half the time I could hear him saying things like, “WHAT are you doing, you idiot?” or “Do you realize how demeaning it is when you call me that?” Perhaps that was just me, though.

Playtime usually consisted of this position while rabbit-kicking (claws exposed) at my forearm… Ouch Asshole!

Although “Pookey” (as I had come to call him) was perfectly happy to eat cat food, wet or dry, he was also very keen on whatever I happened to be consuming, and he would, without fail, sample anything I placed before him. This also proved to be an endless source of amusement, but over the course of time I discovered that he liked both bell peppers and onions (scarfed from the floor after dropping a bit of pizza), as well as chocolate-chip cookies, which he would bat out of your hand and chase down as it rolled away like a mouse, and spaghetti. But, his absolute favorite food was bread. He would get downright territorial and aggressive over a slice of sourdough, and on numerous occasions we would wake to an entire loaf of sliced bread laying on the kitchen floor, completely eviscerated, the plastic bag shredded and crumbs everywhere. The amazement and hilarity overshadowed any anger or frustration, making it very difficult to reprimand him, and this behavior became just another facet of life with “The Pook.”

His diet may have contributed, although he was never fat, to Pookey growing into a beautiful blue-gray solid-as-Sears 17-pound cat. He loved people, but was never an attention whore. If you wanted to pet him, he was more than happy to oblige you, and he would tolerate any technique or intensity quite happily, as long as he was being touched. But it was me who he embraced as kin, and for that I remain deeply honored. He would follow me, seek me out, cuddle me and clean me. I could pet him, hug him, hold him, and abuse him in just about any conceivable way, and as long as he was in physical contact with me, he would stay, unfalteringly, at my side or in my arms until I released him, purring like a Hemi in a ’68 Dodge Charger; never leaving on his own. I came to believe that he would starve to death before he would abandon my presence, and the years of this sort of companionship and proximity forged a bond I have rarely experienced with most of the people in my life, let alone another animal.

As life went on, my fascination grew with the odd animal I had befriended. Although a fair bit of anthropomorphizing occurred, he began exhibiting positively human tendencies. He had an uncanny ability to sense things. I could go into the kitchen and make myself a meal and he would sit quietly wherever he was, nary batting a multi-lidded eye at me, but if I went into the kitchen with the intention to make a meal and found something in the refrigerator I thought he might enjoy, he would be at my side, patiently awaiting what he somehow knew was coming. This preternatural skill most bizarrely manifested in his keen sense of all things elastic, particularly hair-ties. Pookey could be asleep downstairs at one end of the house, and if you were to remove a hair-tie from your hair upstairs and at the opposite end, he would, suddenly, be at your feet waiting for it, as if he had just loaned it to you and wanted it back. The look of contempt and insistence the cat could muster was enough to make you sheepishly give the blasted thing to him, at which point you would be rewarded with a 20-minute display of “Solo Catch.” He would take the hair-tie in his mouth and fling it into the air, chase it down, pounce on it, and repeat, until he was bored, at which point he would saunter over to his water-bowl, hair-tie clasped gently between his front teeth, and drop it in. After years of enjoying this behavior, my wife finally pointed out that it was almost as if he was putting his toys away like an obedient child. We decided that he understood that he had very few earthly possessions, but that he knew for certain that the water-bowl and food-dish were his and his alone, therefore, the newly acquired hair-tie should go with his belongings. Where else would he keep it?

Late at night we would often hear him exploring the house, but not in a “this is my home and I should know the layout.” It was more the socially-retarded visitor who looks through your medicine cabinet when he uses the bathroom. We would wake in the morning, unable to find him, and after a rousing round of “Did You Let Him Slip Out When YOU Came In?!” My wife and I would see him emerge from one of the cupboards, bleary-eyed and hungry. One night, while lying in bed, we heard a cupboard rattle, like the door to it was banging shut repeatedly. Quietly. Gently. But over and over and over and over… We could only imagine him hooking a claw from his forepaw under the lip of the cabinet door to pull it open, and just as it was wide enough for him to enter, losing his grip and being thwarted. “Shit…” bang, bang, bang… “Shit!” bang, bang, bang… “SHIT!” bang, bang, bang… Ok, so we anthropomorphized him a bit more than we originally let on, but hopefully, you are starting to get the picture.

It was about this time that some of our clothes (usually mine) began making their way into the strangest places. We would find a t-shirt in the middle of the living room floor, a pair of pants in the bathroom, and one time a 7-pound costume cloak that I had made of heavy-weight drapery velvet was scrunched into a ball on the sofa. This would only happen when we were out of the house or while we slept, so we never really knew what was going on. It amused us nonetheless. Finally, late one night, we were sitting on the couch, the living room lit only by the cold gray glow of the television, and out of the corner of my eye, in the darkness, I saw movement. I nudged my wife, and we watched in astonishment as the cat, dragging one of my shirts with his teeth, backed his way into the living room, and stopped in the middle of the floor. Our amazement turned to horror as we watched him gather the shirt beneath him and begin humping it like an over-amorous dog on Uncle Ernie’s leg. It was… disturbing, but sweet in a way. He was showing us his love, in the most primal, animalistic, embarrassing fashion conceivable.

We believe it was the cookies that brought on diabetes. We had noticed his litter box smelling of urine within a day or two of changing it, and when we emptied it out, there was a tremendous amount of liquid beneath the clay. So, off to the vet, and sure enough, low blood sugar, plus all of the indications of feline diabetes. The first few weeks of giving him twice-daily insulin injections were tough. He would see the syringe and bolt, and I know he resented being forced into submission just so he could experience the sharp pain of a needle piercing the skin at the scruff of his neck. One day, in the evening, he was having a bad go of it. It was obvious he was not feeling well. Slow, lethargic, his eyes a little glazed over, and he let me sit down next to him and administer the medication without the slightest protest. Within a few minutes he was back to his normal self, alert, purring, on the hunt for cookies (now completely removed from the menu). I think it finally registered with him that the shot was the thing that made him feel better, because from that point on, he never ran from the needle, and ofttimes he would seek me or my wife out, sit at our feet and meow, which we soon discovered meant that he was feeling the need for insulin. If we ignored him, or tried to play with him or give him food, check his litter box, etc. he would continue the behavior, following us around, until we administered the shot, and then he would quietly go about his business, “That is done, and I have things to tend to…”

Life with The Pook was great for years — peccadilloes, insulin punctures, and pizza. He was our roommate who provided love and entertainment in lieu of rent and food money. It was a perfect relationship, and we were all content. Right up until we had our first child. My wife and I discussed how things might change for Pookey (and for me) when our son was born, and I fought valiantly against the mere thought of our cozy little existence being altered. But deep down inside I knew it was true. I would try to convince my wife, or more accurately, myself, that I would still have plenty of time and desire to pick up the great lummox and carry him around for hours at a time just like I had for the past 15 years, and I truly believed that. But any who are reading this right now, who have children of their own, are shaking their head, knowing full-well that your pets, no matter how deeply cherished they are, play second fiddle to a new baby. I would learn that lesson in the most painful way possible.

My son was born six weeks early, and while he had no developmental problems, it was quite a surprise, and we were wholly unprepared for his arrival. In fact, he was born on the day of his own baby shower, but that is a tale for another day. Needless to say, my wife and I had to scramble to gather up the multitude of small things you need for a newborn, and during that hectic first week or two, The Pook was all but forgotten. Sure, he was fed, watered, and medicated, and we even managed to pick him up and hold him once in a while, but our newborn baby required attention, and had captivated us in ways we never even conceived of. If I am being honest with myself, I must confess that I saw the change in him. He was not as frisky, and the expression he once wore, of mischief and enthusiasm, was replaced by a downtrodden mask of sadness. Sure, I anthropomorphize, but he was, quite obviously, affected by the arrival our the baby.

Once things settled down, I made a concerted effort to spend time with Pookey, and to show him that he was still very much loved, very much wanted, and very much part of the family. But I fear that effort came too late. He just wasn’t the same.

One evening after giving him his nightly insulin, we went to bed, only to be awakened a few hours later by our roommate saying there was something wrong with The Pook. We rushed downstairs to see what was the matter, only to find him laying on his side, limp, eyes totally glazed, and breathing very shallowly. A million things ran through my mind as to what could have happened, but I kept coming back to the insulin. Had I given him too much? Did I double-dose him accidentally? Did my roommate or my wife dose him in addition to the injection I gave him? No. I was sure on all counts that none of that happened. We were very careful about the meds. I was the only one to give him the shot, solely because that way we could prevent this sort of thing happening. I was also sure that I had not double-dosed him, so it was not that either.

We scooped him up in a towel and rushed him to the emergency vet clinic near our home. He looked bad, head lolling, eyes vacant, mouth open slightly. I feared the worst. The clinic took us in immediately, and then took him to the back area for examination. The tech returned a couple minutes later, and my heart sank. I knew this could not be good news. He told us that Pookey’s blood-sugar was in the single digits, which meant his brain was so glucose-starved that irreparable damage would have been done. If we had gotten to him sooner, and given him a little of the Karo Syrup we kept on-hand just for this sort of emergency, we might have been able to save him. But as it was, even though they could probably stabilize his blood-sugar, he would never recover from the brain damage. I asked if I could say goodbye to him, and they brought him back into the exam room. I held my little gray best-friend as he died in my arms, and cried harder than I have cried in my life for not being there to protect him, to save him. For being responsible for this. For the hole that would forever remain in my heart.

I miss you Bubba. You will never be forgotten.

My best friend until the day he died.

AFTERNOTE: It turns out that, occasionally, a diabetic cat’s pancreas will throw some insulin randomly — sometimes small amounts, sometimes large — and that this is most likely what happened with Pookey. We had given him his insulin in the evening, and then later that night he threw a large amount of insulin himself which made him lethally hypoglycemic. Knowing what probably happened helps, but it does nothing to ease the pain of loss and responsibility I carry with me to this day.

Wisdom from My Own Personal Pantheon

Here are a few of my favorite quotes from a few of my favorite authors and influences.  Some of these, surely, are, by now, a part of virtually any educated writer’s DNA, but others are still gems worth bringing back into consciousness.  I will start with a simple mantra from my years at Writer’s Boot Camp:

The secret to writing is… WRITING!

 

Neil Gaiman:

  1. Write
  2. Put one word after another. Find the right word, put it down.
  3. Finish what you’re writing. Whatever you have to do to finish it, finish it.
  4. Put it aside. Read it pretending you’ve never read it before. Show it to friends whose opinion you respect and who like the kind of thing that this is.
  5. Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.
  6. Fix it. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.
  7. Laugh at your own jokes.
  8. The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it ­honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.

Stephen King:

  • Be talented

This, of course, is the killer. What is talent? I can hear someone shouting, and here we are, ready to get into a discussion right up there with “what is the meaning of life?” for weighty pronouncements and total uselessness. For the purposes of the beginning writer, talent may as well be defined as eventual success – publication and money. If you wrote something for which someone sent you a check, if you cashed the check and it didn’t bounce, and if you then paid the light bill with the money, I consider you talented.

Now some of you are really hollering. Some of you are calling me one crass money-fixated creep. And some of you are calling me bad names. Are you calling Harold Robbins talented? someone in one of the Great English Departments of America is screeching. V.C. Andrews? Theodore Dreiser? Or what about you, you dyslexic moron?

Nonsense. Worse than nonsense, off the subject. We’re not talking about good or bad here. I’m interested in telling you how to get your stuff published, not in critical judgments of who’s good or bad. As a rule the critical judgments come after the check’s been spent, anyway. I have my own opinions, but most times I keep them to myself. People who are published steadily and are paid for what they are writing may be either saints or trollops, but they are clearly reaching a great many someones who want what they have. Ergo, they are communicating. Ergo, they are talented. The biggest part of writing successfully is being talented, and in the context of marketing, the only bad writer is one who doesn’t get paid. If you’re not talented, you won’t succeed. And if you’re not succeeding, you should know when to quit.

When is that? I don’t know. It’s different for each writer. Not after six rejection slips, certainly, nor after sixty. But after six hundred? Maybe. After six thousand? My friend, after six thousand pinks, it’s time you tried painting or computer programming.

Further, almost every aspiring writer knows when he is getting warmer – you start getting little jotted notes on your rejection slips, or personal letters . . . maybe a commiserating phone call. It’s lonely out there in the cold, but there are encouraging voices … unless there is nothing in your words which warrants encouragement. I think you owe it to yourself to skip as much of the self-illusion as possible. If your eyes are open, you’ll know which way to go … or when to turn back.

  • Be neat

Type. Double-space. Use a nice heavy white paper, never that erasable onion-skin stuff. If you’ve marked up your manuscript a lot, do another draft.

  • Be self-critical

If you haven’t marked up your manuscript a lot, you did a lazy job. Only God gets things right the first time. Don’t be a slob.

  • Remove every extraneous word

You want to get up on a soapbox and preach? Fine. Get one and try your local park. You want to write for money? Get to the point. And if you remove all the excess garbage and discover you can’t find the point, tear up what you wrote and start all over again . . . or try something new.

  • Never look at a reference book while doing a first draft

You want to write a story? Fine. Put away your dictionary, your encyclopedias, your World Almanac, and your thesaurus. Better yet, throw your thesaurus into the wastebasket. The only things creepier than a thesaurus are those little paperbacks college students too lazy to read the assigned novels buy around exam time. Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule. You think you might have misspelled a word? O.K., so here is your choice: either look it up in the dictionary, thereby making sure you have it right – and breaking your train of thought and the writer’s trance in the bargain – or just spell it phonetically and correct it later. Why not? Did you think it was going to go somewhere? And if you need to know the largest city in Brazil and you find you don’t have it in your head, why not write in Miami, or Cleveland? You can check it … but later. When you sit down to write, write. Don’t do anything else except go to the bathroom, and only do that if it absolutely cannot be put off.

  • Know the markets

Only a dimwit would send a story about giant vampire bats surrounding a high school to McCall’s. Only a dimwit would send a tender story about a mother and daughter making up their differences on Christmas Eve to Playboy … but people do it all the time. I’m not exaggerating; I have seen such stories in the slush piles of the actual magazines. If you write a good story, why send it out in an ignorant fashion? Would you send your kid out in a snowstorm dressed in Bermuda shorts and a tank top? If you like science fiction, read the magazines. If you want to write confession stories, read the magazines. And so on. It isn’t just a matter of knowing what’s right for the present story; you can begin to catch on, after awhile, to overall rhythms, editorial likes and dislikes, a magazine’s entire slant. Sometimes your reading can influence the next story, and create a sale.

  • Write to entertain

Does this mean you can’t write “serious fiction”? It does not. Somewhere along the line pernicious critics have invested the American reading and writing public with the idea that entertaining fiction and serious ideas do not overlap. This would have surprised Charles Dickens, not to mention Jane Austen, John Steinbeck, William Faulkner, Bernard Malamud, and hundreds of others. But your serious ideas must always serve your story, not the other way around. I repeat: if you want to preach, get a soapbox.

  • Ask yourself frequently, “Am I having fun?”

The answer needn’t always be yes. But if it’s always no, it’s time for a new project or a new career.

  • How to evaluate criticism

Show your piece to a number of people – ten, let us say. Listen carefully to what they tell you. Smile and nod a lot. Then review what was said very carefully. If your critics are all telling you the same thing about some facet of your story – a plot twist that doesn’t work, a character who rings false, stilted narrative, or half a dozen other possibles – change that facet. It doesn’t matter if you really liked that twist of that character; if a lot of people are telling you something is wrong with you piece, it is. If seven or eight of them are hitting on that same thing, I’d still suggest changing it. But if everyone – or even most everyone – is criticizing something different, you can safely disregard what all of them say.

  • Observe all rules for proper submission

Return postage, self-addressed envelope, all of that.

  • An agent? Forget it. For now

Agents get 10% of monies earned by their clients. 10% of nothing is nothing. Agents also have to pay the rent. Beginning writers do not contribute to that or any other necessity of life. Flog your stories around yourself. If you’ve done a novel, send around query letters to publishers, one by one, and follow up with sample chapters and/or the manuscript complete. And remember Stephen King’s First Rule of Writers and Agents, learned by bitter personal experience: You don’t need one until you’re making enough for someone to steal … and if you’re making that much, you’ll be able to take your pick of good agents.

  • If it’s bad, kill it

When it comes to people, mercy killing is against the law. When it comes to fiction, it is the law.

Kurt Vonnegut:

  1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
  2. Give the reader at least one character he or she can root for.
  3. Every character should want something, even if it is only a glass of water.
  4. Every sentence must do one of two things — reveal character or advance the action.
  5. Start as close to the end as possible.
  6. Be a Sadist. No matter how sweet and innocent your leading characters, make awful things happen to them-in order that the reader may see what they are made of.
  7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
  8. Give your readers as much information as possible as soon as possible. To hell with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

John Steinbeck:

  1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
  2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
  3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
  4. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
  5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
  6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.

 

The Novel – #2

In the tech world there is a concept called “analysis paralysis,” which actually commutes to many situations.  Analysis paralysis (in tech terms) is where a project gets so bogged-down that it stalls because of over-analyzing the requirements.  At some point, you have to jump, and, as Nike so succinctly put it, Just Do It.

So it is with writing.  All of the schools of thought, from Aristotle to Egri, Vogler to McKee, teach the STRUCTURE of writing.  How to make a story conform to some set of rules extrapolated from great works of literature, fiction, playwrighting, etc.  Many would-be writers drown in the quagmire of analysis that these techniques mandate, as they attempt to work backwards through the process, analyzing, designing, structuring, then finally TELLING.  Myself included.

As I lay in bed at night, waiting for the Sandman to sweep me away, I use the quiet time (I have two small children so it is about the only quiet time I get :>) to think through the analysis and structure of the story.  As I delved into a particular aspect, in this case what could cause a child to want to kill a parent, my muse struck and revealed a bit of the story to me.  I quickly grabbed my notebook and wrote feverishly for 45 minutes.  Satisfied that I had captured the essence of the inspiration, I re-read what I had written, and that was when it hit me.  I have MANY MANY bits like I had just written.  In Writer’s Boot Camp language, M2 elements (M2 for Movie Moment) are the big set-pieces that make up a story, knit together with the connective tissue of character and plot, and if you consider any movie or story you love, you will find it to be filled with “moments” that reach through the screen or pages and touch you in some way.

This revelation got me thinking, and what I concluded was that I had plenty of M2 elements for at least the first story of this trilogy, and all I needed to do was put them together, and then allow Anne Lamott’s concept of the “Shitty First Draft” to take hold as I filled in the mortar surrounding them.  Then, armed with a “Shitty First Draft,” I could apply my own phrase, “It is far easier to make something better, than it is to make something.”

And that is where I am at right now… assembling the M2 elements along some semblance of a timeline, such that the story to be told is more clear, needing only those stitches of plot and character to tighten it up into something, hopefully, enjoyable.

The Novel – #1

I am finally getting around to posting something on my progress/process.  With two little ones and a full-time job, finding time to write is difficult at best.  But I have been doing a lot of the mental work of sorting out storylines, weeding through possibilities, and constructing the pathway along which the tale will travel.

Back when I began the script for “Techgnostica,” I had the notion that there was far more story to tell than just a single movie’s worth.  That made me think of the Wachowski Brothers and their relentless pursuit of positioning “The Matrix” as a trilogy from the very beginning.  And that in turn gave rise to a similar notion for my story.  Now, after much internal debate, and after a good conversation with Tina, I think I have realized that, although I COULD tell this as a single movie, there truly is at least one other story that needs to be told… perhaps two.

So, I will either write an epic novel or a series, and will expect to write a trilogy of scripts for the movie-version.  That is the current plan… as always, this is subject to change… a LOT.  😉

Last night, with this new concept in mind, I was able to sit down and actually outline 3/4 of the story.  It seems that in trying to cut corners and be concise enough to fit into some prescribed structure, I was closing off avenues that needed to be traveled, and this was contributing to the block I have been experiencing.

So, now I am feeling like I can, once again, put pen to paper, and get back to the more obvious form of writing.  In doing so, I have crafted a couple of “sequences” that may play nicely as short stories, and I am wanting to put those up in this blog or somewhere on the site.  But I am concerned with rights violations, and impingement on publishing possibilities, and a variety of other issues.  So, until I get that stuff sorted and understood, I will hold off.

More later…

My Own Personal Thanks-Giving

I never really got the whole “blog” thing.  I mean, who in the world wants to read someone else’s random, personal thoughts?  It makes sense for information dissemination or business ideology or academic debate.  That I get.  But somehow, blogs have become a new way for us to connect, albeit from afar, and a powerful one at that.

So even though I do not quite get the allure, I am willing to participate, because Gods know (as do those of you around me) I love to hear myself talk… or write.  😉

On this most noteworthy day, I awoke to the sounds of my 3-year old son quietly chatting away with himself, as he normally does, while he waited for his mother and I to rise.  I could hear gentle “smacking” sounds as well, which I immediately knew were my wife’s kisses on the face of our newborn daughter.  And as I lie there, pushing away the cobwebs of sleep, their collective presence enveloped me in a cocoon of peace, joy, happiness, and comfort, and I realized that Thanksgiving was upon us, and that what I was experiencing was the essence of what the last Thursday of November was all about.

Whether I achieve my dreams and goals or not, I know that my life has been a success, for the love of a magnificent woman, and the gift of two incredible children.  As I write this with teardrop-wet fingers, I give my thanks to Tina, for loving me, agreeing to be my life’s partner, and most of all for giving me Teagan and Aislynn.  For if I do nothing else for the remainder of my days, they will satisfy my eternal desire to leave a mark on our world, and the fact that I was chosen to be their father will forever tower above any other accomplishment I could hope to achieve.

I love you 3 with everything I am, forever, no matter what.

In parting, I wish for you, kind reader, be it today, Thanksgiving Day, or another day of the year you might happen across this missive, to find your own focus of thanks; to recognize it, embrace it, and revel in all of the power it gives you through the clarity of vision that no thing on this planet, in this life, matters more than those around you whom you call family.

Happy Thanksgiving,

Chris