A Birthday Present from Grammar

I got a great birthday card, the front of which said:

Dear people of the World,

I don’t mean to sound slutty,

But please use me whenever you want.

    Sincerely,

    Grammar

A great card on several levels.  The “use me” is so much more economical than most of the explicit things one could think of, and therefore allows for (salacious) imagination, reminding me to be careful in writing to give the reader license to create her own vision of what I describe.

Which leads to the f-word (really?).  I’m just thinking of the so-called dysphemism treadmill, in which a vulgar word becomes more and more acceptable.  Pamela Hobbs, quoted in Wikipedia, notes that usage of the f-word falls into two categories:  non-users and users.  Non-users define the word in its proud Anglo-Saxon context and therefore consider it obscene and rarely use it.  Users, on the other hand, have dissociated the word from sex and make frequent use as an intensifier, noun, adjective, adverb or verb. For them, as Hobbs says, fuck “no more evokes images of sexual intercourse than a ten-year-old’s ‘My mom’ll kill me if she finds out’ evokes images of murder.”

As a writer hoping to interest both users and non-users, my take is very, very abstemious use of the f-word (see, at my core, I’m a non-user, except when irritated).  My rationale is that users usually employ fuck in ways that add no value to the sentence (although sometimes to the meter).  None of that is useful in storytelling unless establishing a character’s unique voice.

So most of the time, I’ll go fuck-less.  Grammar, on the other hand, I shall use and use and gratefully use.

 

 

Writing with Feeling

I read a submission guideline the other day that sliced novelists into ‘beginner’ and ‘experienced’ using the following cleaver:  “you may consider your work for the experienced category if it has been critiqued by people other than friends and family.”

I get it.  Your wife’s going to tell you it’s great.  Family harmony vs. weak characterization … harmony wins, right?

Well, that’s all well and good as a general case.  However, my wife Beverly is not a general case.  She is an educator of many facets … kids, science outreach, young (we’re talking preschool through elementary), old (adult to ancient).  And, in all those facets, writing has been her central organizing idea. Here’s a reminder from her current writing course that rang a bell with me (hehehe):

Pitch Conference

Ahh, the pitch conference.  Three minutes to explain your darling child of a novel to a polite but dubious agent.  Three minutes for her to ask probing questions that tear it apart.

I enjoyed most of the Writers Digest pitch conference in St. Paul, Minnesota last Saturday.  The classes were more reminders of ideas we writers should always have in our heads than anything new.  Mystery writer Kristi Belcamino reminded us to “get in late and leave early” so that you give the reader the essence of an action, rather than all the steps (hearing the knock, walking to the door, turning the knob).  Set up a ticking clock. (To know that you have to catch a flight to Istanbul is just information.  To know it’s an hour before takeoff and you’re still in the security line raises the stakes.)  This is stuff most writers know, but I, for one, tend to bury important things in prose, then have to trim.

I had some hope of discovering how a self-published work of fiction finds readers.  For all the good ideas, warnings, and suggestions, there was not much there.

Possibly the best takeaway for me was a session in which first pages of novels were read aloud to six agents, who then indicated when they would stop reading.  One of the pages read was from a talented author in my Wednesday critique group. The agents had comments similar to those the critique group had when its members read that first page.  Heartening to hear that the group is on point.  Also very interesting to hear the agents’ take on what works and what doesn’t.  Good writing is necessary, but not sufficient.

In any case, the experience kicked me into yet another rewrite.

Plot Complexity and the Value of Regularity

A fine Minnesota writer, William Kent Krueger, plans his mystery novels out in detail, I’m told.  He is well known for going to a diner each morning and writing.  His stories are detailed and coherent, and his prose is clear and finely balanced.  His Ordinary Grace won the 2014 Edgar for best novel.  Clearly, he knows what he’s doing.

Kent Krueger was one of the founders of one of my Minneapolis critique groups, Crème de la Crime, although he has left the group under the pressure of success.

One of my several conceits when I began writing seriously several years ago was that writing is an organic process.  We plant the seed of a character, and the character grows through the story.  The story must have an arc, and main characters must grow through the arc. Ahem. Like many of the other conceits, that one is true but not sufficient to justify waiting for inspiration to carry me away on its gassy clouds.

I’m not a person who thrives on having a regular schedule.  I feel guilty about that in a number of areas of my life, but I always have excuses: those immediate quotidian issues and tasks … groceries, dentist, car service, getting the books back to the library … seem to jump in front of writing.

I mention all of this because I am realizing how important regular writing is.  The more complicated the story, the more important regularity becomes.  In my third novel, of which I’ve drafted perhaps a third, the plot has, as they say in the bi’ness world, a lot of moving parts. If I were clever like Krueger, I’d be writing every day, which would keep the plot details in my head at all times and prevent the egregious plot mistakes I’m trying to backflush.

Too late for a true New Year’s resolution, but I hereby resolve to write on a more regular schedule.

Art, Wisdom, and the Comics

Sally ForthI must admit that I glance at the front page of the paper, scan the news of the day and go to the comics page for wisdom.

So, here you have it.  We writers often miss this truth, vainly trying to lock the reader into our own special vision.

(from www.sallyforth.com)

Overhead

Overhead:  That concept they lay on you at the auto dealership when you wonder why it costs $70 per hour to fix your car.

Overhead:  A life concept I too often ignore.

mechanic bill

I digress today from writing about writing per se to talk about the real-world business of writing. Specifically, is this new age better? Or just different?

Surely, we have resources we never had before. Google maps, Wikipedia, thousands … nay millions … of specialized websites. I said in the last post that I was able to scope out and define a little town in Austria right from my comfortable chair in Minnesota.

Wonderful, but …

  • Arriving home from a trip abroad, my good old HP printer doesn’t print. Turns out Apple’s latest update of its OS is probably the problem. That cost three hours and led to a new printer.
  • WordPress.com explains that my podcast hasn’t passed through to iTunes, depriving it of 80% of its listeners. Nobody knows quite why. I’m looking into a separate website. Several hours squandered there.
  • Audible/ACX, the Amazon audiobook service, hasn’t responded after having told me there’s “electrical noise” in my audition file. Serializing the first novel as a podcast is on hold.

Overhead!

I don’t know about you, but I realize I should allow for all this overhead when I set my expectations about what this wonderful world of technology promises.

Fiction and reality

I have just returned from a trip to reality.

In my second novel, a main character is drugged and pushed off a Danube river boat. She ends up in a little town at the eastern edge of Austria called Hainburg an der Donau.

With my Internet resources, I was able to see a Google World view of the town, locate the hospital in it, observe the uniform of Austrian policemen, calculate the actual speed of the boat after it left Vienna for a trip to Budapest, view a plan of a boat similar to my fictional one. I knew the depth and temperature of water in late June, and I knew that a single screw (propeller) would most likely not drag an unconscious person through its blades. More than enough information to write a credible story, right?

A little over a week ago, my wife and I had dinner in VGruner Veltlinerienna with several friends from my former business life. Over a very nice glass Grüner Veitliner, I allowed as how I planned to ride the train to Hainburg the next day. Chuckles. Well, I said, part of my novel takes place … Outright laughter. “In Hainburg?” they asked, with the same inflection a Manhattanite would use to describe central North Dakota.

I mentioned that I had written ahead to the Tourist Bureau there (not-so-stifled laughter) and received a long German reply to my request to visit the police station. The Tourist Bureau had summed it up in four English words: “It is not possible.”

My friends Werner and Tina took pity on us and drove us to Hainburg the next day.

Hainburg panorama

Hainburg panorama

Hainburg hospital

Hainburg hospital

The town was substantial, but definitely in the sticks, at least to my sophisticated city-dwelling friends. The hospital was far more substantial than I expected, and its design would not have allowed the story line as I had written it. The police department, the one which was “not possible” to see, produced a constable very like my fictional one and an interior design that made what I had written plausible.

I will make some revisions, but fiction is fiction. The lovely little town Hainburg an Der Donau with be portrayed, umm, a little inaccurately.

Stop Saying “I Feel Like”

One of the many challenges I face as a beginning writer (I can still claim novice status, particularly when making novice mistakes) is the issue of how temporal to be. “Temporal” often means “temporary.” Who knows how long LOL or awesome will last? And, do you really want to date your writing? Then there’s the more complex issue … vocabulary and usage reflect a character’s expressed personality, which is a function of the time and place. “Cool, daddy-o” doesn’t work in a piece set in the 1890’s. Certainly, leave out y’know, like and other limping conjunctions and fillers that are common in conversation … except maybe occasionally, as linguistic spice.  That part I got.

Less obvious is the subtle change discussed in a New York Times opinion piece,“Stop Saying ‘I Feel Like’ ” by Molly Worthen. She notes, “imperfect data that linguists have collected indicates (sic) that ‘I feel like’ became more common toward the end of the last century. In North American English, it seems to have become a synonym for ‘I think’ or ‘I believe’ only in the last decade or so. Languages constantly evolve … But make no mistake: ‘I feel like’ is not a harmless tic. George Orwell put the point simply: ‘If thought corrupts language, language can also corrupt thought.’ The phrase says a great deal about our muddled ideas about reason, emotion and argument.”

So, possibly irritating phrases (such as) “I feel like” don’t get expunged because the help define the characters inner self?  The next big question:  “I feel like” is like fingernails on a blackboard to me, but does it describe a character’s state of mind to my reader?  Am I justifying not including it because I am, after all, an English major living on a higher plane of language?  Is that higher plane really an affectation?

No more questions.  Start, like, writing!

 

 

Creativity and the art of zoning out

There are many prescriptions for creativity. Enough that it’s clear that nobody has come up with a formula that works for everyone. Meditating hasn’t worked for me, because I need my mind to be active. On the other hand, it’s hard not to be distracted by the flow of information and irritation that is everyday life.

For me, the solution is race walking. Yup, that hip-wiggling form of locomotion that looksRace walk great on a young woman and somewhere between odd and hysterically funny when an older, overweight guy does it. (This I know from experience.) The important part for me is that the magic of repetitive movement quiets my mind but allows the cognitive flywheel to spin uninterrupted.

I discovered this when I had my knee scoped a couple of years ago. No race walking for several months. My second novel, which I was rewriting at the time, became mired in bad writing and incomprehensible plot twists. I exercised on the elliptical machine, to be sure; but the gym’s constant noise and intrusive TV monitors blunted my thought process. When I got to the point that race walking was okay again, the novel started sorting itself out.

For me, good writing requires mental solitude, and exercise provides that freedom.