NVDT Writerly Thoughts – Cat Herding (or) Time to Write

I have had little time, plenty of blog ideas – but the whole AI thing is tired, regardless of which way you come at it. If it ever makes it to the assistant stage, call me. I have some things to say about writing, but those are for my own good and can come up in a couple of book reviews. For now, though, they’re back. Yes, them. The voices in my head. The casts have assembled with a “We don’t care about your ‘commitments’.” And a reminder that ‘responsibilities’ are the biggest excuse for avoiding responsibilities. So, from the parking lots of volleyball practice to waiting in car dealerships, two novellas have sprouted. Yes. Shorties. Here they are. I have no idea where they’re headed, except the Cotton crew has shown me some stuff, but not how to get there from where they started… Voting is open on which one first.

MEYERS – A BEAUTIFUL CORPSE

I tipped the cab driver enough to turn off her meter, radio in for a breakfast break and forget she’d ever seen me before we left my parking garage. I gave her an address and simple instructions. She understood both our jobs and ten minutes later dropped me in a narrow, tree shrouded hired-help access alley in the part of Hollywood where they still had “Tradesmen Use Rear Entrance” signs. I hiked a hundred yards in the shade, clawed through a tall privacy wall of Eugenia and made my way to the pool where I found Huntley Bryston, young chauffeur and my occasional extra cool hand staring into the swimming pool. I followed his intense gaze into the morning sun sparkled water.

“Not much of a swimmer.” I waited a few before adding, with a touch of finality, “But she makes a beautiful Ophelia.”

“A beautiful who?”

“You need to brush up on your Shakespeare if you plan on working this end of L.A.” I walked to the edge of the pool, got a better look at the floater. Unlike most dead-poolers I’d encountered, she was face up. Twenty-five, if she was a day. Five-five or six if I had to guess and small framed. Cookie cutter actress material. I couldn’t tell if the blond hair was original equipment or not, but there was a lot of it. All fanned out over two feet around her head, undulating slowly with the rhythm of a hidden pump. Bright red lipstick and too much green eyeliner still in place. The rest of her swaddled in a gauzy, ankle length sea foam green evening gown with one rhinestone encrusted strap. I took the length of colorful, floral-patterned material floating loosely around her neck to be the sash missing from the rhinestone loops at her waist. A weapon of sudden convenience. I wondered; did she spin like a top when the perp yanked it loose?

“Who was she before the Ophelia act?”

“Adelaide. Addie.” He took off his chauffer’s hat, licked his upper lip. “Dubrev.” He held the hat to his chest honor guard fashion. “Mrs. Marlon Dubrev.”

I gave Huntley his moment of respect while I scanned the pool area for signs of a struggle. A purse, a dirty ashtray. A shoe. A broken glass. A chair or chaise out of place. Nada. It was as if someone had manicured everything from the back door to the shrubs that had closed seamlessly behind me. A pristine set for a beautiful corpse.

“I thought Dubrev was dead.”

“He oughta be, the way he…” Huntley smacked his palm with the cap, jammed it back on. “All I know is his career’s been in the shitter since before I was born.”

“I see,” said more to his tone than Dubrev’s career. “Called Purcell yet? The fuckedupness of dead Hollywood is his speciality.”

“Yours, too.” He cast his eyes toward the house. “No one answers the door, front or back.”

“That wasn’t an answer.” I didn’t get anything else. “Tell me why I had to be here without actually arriving?”

“Because you rode with me.”

“Because?”

“I was supposed to be taking her to meet you.”

“Clear as mud.”

“Look, if they find her purse, go through her things, what they’ll find is a lipstick, a, a handful of bills and your name and phone number on my card. In her handwriting.”

“So, you decided that we had an early appointment with Mrs. Dubrev, since she was dead, and you figured to be in deep shit for it? Didn’t want to talk to the cops by yourself?”

“Jesus, Mr. Meyers. Put it in lights, you know,” he looked up, gloved hands wide, palms out. “The Chauffer Did It.”

“Unlike TV cops, real cops need evidence. Not the first gullible breather on the scene they can cuff and charge with murder. You on the Dubrev payroll?”

“No.”

“Good. How many times you drive the lady?”

“Seven.”

“Frequently?”

“Once a week or so. Never the same day, though.”

“So there’s no pattern. Ever drive the old man?”

“Just her.”

“You two been—”

“NO. Hell no. She’s a sweet–”

Was a sweet. Good for her. You kill her?”

No. What the hell, Meyers?”

“Emotions run wild in Hollywood, and the young, attractive hired help gets top billing in young, attractive dead spouses of old has-beens. Touch anything, move anything?”

“Doorbell, door knocker. Gate handle when nobody showed at the front. But,” he showed me his hands, still in black calfskin driving gloves.

“Somebody reliable know where you were last night?”

“Yeah. You want it?”

“No. I want to hear it for the first time when you tell Purcell. Except for what time we got here, which was ten minutes ago.” I checked my watch. “Seven-thirty. Anything in your logbook make that a lie?”

“No sir. I, she… Didn’t want this one logged.”

“This was personal, somehow?”

“She’d call. I’d drive, she’d talk. Whatever came into her head, you know, like a little kid. She had some unreal pressure on her to be the next big thing, an ‘old school starlet’ she called it. Manufactured for that…” he pointed to the house, and again he choked on whatever he was going to say about Marlon Dubrev.

“Ever been in the house?”

“No.”

“Best news so far. Take the gloves off, leave some prints where you said you’d been and nowhere else.”

“Yeah, okay,” peeling the gloves. “Hey, yo,” panic rising in his voice. “Where you going?”

“Need to call the cops, Junior. You bounced me out before breakfast, and I’d like to be outta here by lunch.”

THE PONTATOWAK COUNTY CREW – ADVERSE POSSESSION

A Hot August Thursday, Late Afternoon

A grimy bear in filthy overalls rose from the crank of the fully extended scissor jack he’d used to raise a twenty-year-old Chevy pickup to a precarious lean on the shoulder of Oklahoma Rural Road 3651. He gave the truck a shove, watched it roll sideways down the scrub oak infested embankment until it crashed into a thick creosote fence post, fell back a half roll and stopped, bottom up in the dry drainage ditch.

“Forget somethin’?” A starched work shirt and creased jeans man, his expensive cowboy hat topping a carefully sculpted blonde mullet, flicked a still lit Marlboro butt down the hill after the pickup. “Yo, Scully,” louder, emphasized by tapping the edge of a brand-new white Dodge Ram dually’s bed. “I asked you a question.”

Scully saw the body Starched Man pointed out in time to stop his jack toss into the truck bed. He hiss-whistled shit through the gap in his front teeth, walked to the lowered tailgate, set the jack to one side and dragged nineteen-year-old Junior Swiftwater out by the ankles. He grunted when he lifted the boy, shuffled back down the thirty feet of gravel shoulder he’d covered with the jack, grunted again, deeper, and launched Junior down the hill after his truck.

“Almost a fuckup, Scully,” Starched man struck a match on the bed liner, lit a cigarette. “Gettin’ to be a habit a yours.”

“Shut up, Clint.”

“Kid should’ve been in the truck.”

“They’ll figger he done bounced out.”

“Hope the door’s open.”

“If it ain’t?”

“Then you’re a real fuckup.” Starched Clint opened the driver’s door of the truck, looked across the expanse of leather at Scully. “Was he breathin’ when you dumped him?”

“Maybe.”

“This shit right here, Scully? This is what goes through my mind when you tell me you need more money. I give you an opportunity for a bonus, an whatta you do?” Clint dropped their truck into gear, pulled out throwing gravel. “You fuck it up is what. Some days I don’t know if you’re tryin’ to fuck up or too goddamn stupid to follow instructions.”

“You should make nicer talk to people, Clint.”

“You should ‘make nicer’ effort to stop thinkin’ not fuckin’up is optional.”

“Shut up, Clint. Shut up, shut up, shut up.”

“Fuckup, Scully,” Clint turned Scully’s way, sneered. “Fuck up, fuck up, fuck up.”

Scully crushed a small pack of Flamin’ Hot Funyuns, dumped the red dust in his mouth, caught his reflection in the window. “Just. Shut. Up.” He smeared his orange spit-spray spots on the window with the heel of his hand. “Don’t say nothin else. Just shut up.”

***

The Following Monday

Bash opened his front door at 6:05 AM to Agent Candi Cotton, random tendrils of worked-loose hair blowing across her face, racoon circles under her eyes.

“Whoa…You OK? You look a little…”

“Disheveled,” her voice gravelly. “That’s the word you’re looking for.”

“I wouldn’t go disheveled. Rough. Scruffy. Bedragg—”

“Quit while you’re ahead. I need a favor.”

“Looks like you need sleep. And a shower.”

“Look who’s talking. When was the last time you shaved?”

“Friday. You?”

“Funny.” She pushed a 9×11 brown envelope into his chest, walked past him.

“This is what?”

“Junior Swiftwater.”

He bounced the envelope in his hand. “Kinda small for a Swiftwater.”

“Kill the comedy,” she dropped on his couch. “Junior’s in a North Dallas hospital, more dead than alive.”

“That’s news,” walking into the kitchen. “Coffee?”

“Please.”

“How can I help with Junior?”

“He had a single vehicle rollover on 3651. Supposedly.”

“Supposedly?”

“On-call Doc where they air lifted Junior is an overflow pathologist. Found the injuries inconsistent with the type of accident. I’ve seen Junior’s truck, the scene. It all stinks.”

“My job, should I decide to take it and not self-destruct?”

“How can you be so full of shit this early in the… No… Don’t answer that. Everything’s in there,” she yawned. “Have a look. Tell me what you think.”

“By when?” He set her cup of coffee on the end table.

“Couple days, you know…Sooner, maybe…”

“Any kind of road map in here tells me what we’re lookin’ for?”

“Not, you know… Give it a sniff test…” She stretched, arms up, grabbed her elbows, yawned again. “Take all the time you need, as long it’s no more’n… you know?” She rolled down into the couch.

“Yep.” He draped a worn, turtle patterned quilt over her, pulled off her boots. “I know.”

NVDT RANDOM – The Gobbledygook Series

If no one has guessed, I write these epistles for myself. As reminders of good habits, or references for bad habits. In this episode, I approach the big bugaboo that affects a good many of us. I say that because I read a lot. I don’t finish as many as I start, but that’s not today’s topic. The topic for today is –

 Because of all that reading, I have noticed a pattern. If a creative work goes off the rails, or doesn’t quite fit right with itself, contains extraneous ingredients or takes a detour? More often than not, it’s down to focus. Or a lack thereof. It could be a lack of story content. Again, that’s another topic.

I’m going to leave “LIFE” out of this discussion because it’s out of our control. Life changes happen and we work around them the best we can. But there are plenty of things we can control. Things to be aware of in how we’re managing, or mismanaging our story (stories) workflow and our creative ecosystem. That’s a buzzword I’ve been seeing in the music software world. “It’s a welcome addition and an excellent choice for composers used to working inside Brand X’s ecosystem.”

On that note (no pun) I will call out my first focus buster.

The William Morris Effect—(If you don’t know who William Morris is, look him up.) Morris’ workshop(s) were outfitted with various stations where he could move freely between designing textiles, wallpapers, stained glass and furniture. Where he could paint, write poetry, persuasive political pamphlets, novels, translations, engage in bookbinding, print making. All while running a publishing company and various manufacturing facilities, being the Godfather of the Arts & Crafts movement, a leader among the Pre Raphaelites and a voice for British Democratic Socialism (resulting in the NHS, among others)… The point is if one tires of a certain creative process, moves on to another, and then another without focus, nothing ever gets finished. William Morris finished his work(s). For those of us who adopt his cafeteria style creativity concept without his perseverance end up with a lot of unfinished, moderately polished turds in the hard drives, drawers and closets of our workspace. Here’s how it happens to me.

I sit down in my tiny office, and what happens next depends on what distraction pops up. Usually in my email. For the last few months, some aspects of music software have undergone a tremendous shift. Not in the generative world, that’s been around as long as I have. But the instruments, the SDKs… holy crap. They do amazing, multifaceted things and sound incredible. In my enthusiasm, I mentioned this to a few developers, and that resulted in conversations I haven’t had since the olden days. Only now they’re with children half my age. Or some person or entity might ask me a question. Or I see where someone is charging a small fortune for stippled pen and inks of dogs. I might discover my small, but sonically interesting (to me) analog gear station is powered on. So I dig out the headphones, fly a new piece of gear, or find a pencil and a cheap fountain pen, twist a few of those hardware knobs… Off I go. Combine that with pretty much full time “LIFE” and a lot of creative time is gone. Some of it spent being creative, but in the line of Confusing Activity with Productivity.

Shooting Ourselves in the Foot—This seems obvious, but it’s not. And it only happens to me with writing. As I said earlier, I read. Which means I study. Occasionally, I’ll read some really remarkable work. And decide well, I suck, so fuck it and I’ll ignore the voices in my head and go mow the yard or play music or walk the dogs. Or worse, I’ll ignore my rule about “writing” and in the middle of a work I’ll attempt to drop some artsy hooptedoodle because I just read some. It’s not me, it’s not authentic. In fact, it’s a lot like Cinderella’s ugly sisters trying to get their feet in the slipper, Lesson. If it doesn’t fit, if it’s not you, forget it. That’s one of Elmore Leonard’s 10 Rules for Writing. Unless you can write hooptedoodle with the hooptedoodle artists, don’t. And there’s no shame in that, other than wasting time being someone we’re not.

The other aspect of foot shooting is accidentally or (by some deep twisted psychological urge) deliberately putting our work at risk. This takes the form of exposing it to something toxic. Do not read that as a real editor with a big red pen. More in the vein of not allowing a person, situation, gimmick or “resource” to hijack us or our stories and try to send it all down a shit covered path. This can take the form of engaging with an idiot editor, in a collaboration with a person or persons or a machine. The shit-for-editor bit (commonly known elsewhere as the give-me-money-and-I’ll-make-you-a-star scheme) is self-explanatory. Moving on, the problem with most collabs is someone almost always flakes, and you lose at least half of your story and work. And your part sits. Because sure as hell if you build it out and publish it? The missing collaborators come out of the woodwork with their hands out or a shit load of legalese.

The last foot-shooter for me is gimmicks mis-labeled as “resources.” I obviously learned nothing from collaborations with humans because I took an idea to Sudowrite. AI. What an eye opener. It fucked up the concept I fed it so badly that I was in creative shock. Like, where the fuck do you get off dragging my input into some warped, sick, ridiculous, sexist (yes, sexist) sophomoric dystopian shit? Seriously, that experience fried me. How could what I was thinking of get so far off base? But. I have heard famous authors discuss their interaction with screenwriters. Tony Hillerman, Elmore Leonard and Robert Parker all said (paraphrased), Cash the check and don’t expect to see your book or characters on the screen. So I licked my wounds from a gutter minded bad dialogue writing computer’s “collaborative effort” and here I am. Hopefully somewhat wiser for the experience.

Too Many Balls in the Air—too many spinning plates, whatever—the cliches go on forever. I have had this happen. Not in public, fortunately. I ruined a concept by thinking I needed to “lengthen the time span and flesh it out.” Akin to adding hooptedoodle where it wasn’t required but not to be untrue to myself but a story’s platform. Where I got it wrong is, I needed to quit a decent one while I was ahead and write something else if I wanted characters who got dirty growing up.

I watched this very thing happen to an Indie author I respect for his brevity and reasonable consistency, at least in one series. The situation – He was working on three projects, maybe four, while maintaining a series. The series is light, snarky, and original. There is negligible weight to the characters, like the best series. They’re good guys or bad guys, smart alecks or straight shooters, good at their jobs. In the series I’m talking about those characters (literally) face down their demons. This author is also writing, at the same time, something else where he’s all involved in the deeper emotional struggles of a female character in a longer, darker dystopian work.

Instead of changing hats when he downshifts to the series, he dragged that character dev shit over into the series and wasted the last eighth (at least) of one book and the first quarter of the next getting a character’s head straight. Huh? Look – Life sucks. Especially if you’re in the vampire and werewolf elimination business. One day, we might have to kill a friend. When that happens, it’s all in a night’s work. Put on your big girl panties and deal with it. We don’t need to meet your hippie crystal gazing mother while you ponder your navel and the meaning of life clear across the continent from your gig. Not to mention leaving your band mates high and dry, which in the real-world results in “don’t call us if you come home.” Jeez. It’s a modern hard-boiled Noir. Not everybody gets out alive, or stays out of jail. Would Spenser or Sam Spade, Nick and Nora, the Continental Op, Marlowe, Doc Savage, Mac Bolan, Stephanie Plum, Jane Austen et al. turn tail and run to Mommy because a friend was a werewolf? And it was you or Wolfie, so you blew him away? Hardly. The point here is to contain a story’s elements, voice and whatever authorial creative agenda to the story (series) to keep it honest. Keep other works in leak-proof containers in your brain. And if you take an unexpected, unnecessary off ramp, don’t expect your readership to go, “Oh well, that was, uh, refreshing. Next.” Not.

Yoga teachers revel in saying, “Stay with the flow.” An excellent concept. To myself, and anyone who might be listening, I say focus up. If not, it will surely focus up.