Random NDVT – Writerly Concerns #8

Writer’s Block – The Muse

I got five emails over the weekend about Writer’s Block. Three from “editor and writing coach” blogs (those people are full of shit, generally, and their examples and suggestions pathetic), one from someone ranting on me after 45 years saying I must have writer’s block because I mentioned they wouldn’t talk to me about anything of consequence, and one from a writer friend who should know better. Look here people. I did product specialist Artist Relations in the music business. I have stories. But I ain’t telling anybody’s stories out of school. I don’t care if you’re a priest or a rock star or an ex high school cheerleader. Because?

I don’t have to. Dig this. There is no Writer’s Block. It’s an urban myth. Like finding Jimi Hendrix’s guitar in a pawn shop for $50. Writer’s Block is the direct result of trying to control your output. News Flash. Unless you have a pre-ordained point and a target, you have to actively participate in the creative process, not force it. If you have ever had to create for $, in any medium, you know that you develop your craft to the point that you jam (extemporaneously create) until something gets you on the same wavelength as the art director or the editor, and gels.  Or you sit, adjust the fine tuning on the cosmic radio because the Muse never sleeps, and listen. And you get a gift. Too simple?

No.

I was going to go into inspiration and the Muse ad nauseam with people and examples. Instead I say just write it up. What did you do this morning? Where did you go? Who did you see? I could write three fake trendy WP poetry blogs off the grand dog that got out, the hardware store geezers and pink (!) wood filler putty. Nothing about Van Halen, Rick Wakeman, or anybody I went to high school with. Trust me, there’s some quality material going to waste right there.

However, and I’m not L. Ron Hubbard looking for a religion to start, but next time someone says “Writer’s Block” to you, tell them it’s bullshit and I said so. Why? Go to a hardware store.

Hardware store
Not home center
Hardware store
I go there to feel young
Young-ger
Because of Plumbing Geezer in a
Wheelchair with
Oxygen tank
I see him against a green
screen
Scuba diving in that rig
Remember “Sea Hunt”?
Doubtful –
I say I need some three inch nipples
He snickers
Don’t we all
I chuckle
Out of social polite-ness
Locker rooms and sexism are
Everywhere
He tells me he was a Hippie
Honest to God Haight Ashbury Hippie
I say my recovery nurse after they rebuilt my
Asshole
Said she was there
Maybe I knew her he says
She said all the guys were horny, smelly leather clad
Assholes with corny
Lines trying to get
Laid
Same as always and she said
No
A lot.
You guys would tell her
You have
Hang Ups and she’d say
No
I’m not hung up, I just don’t want to make love with
Your
Stinky ass
Right now
Scuba plumber laughs out loud says
Yep
She knew me, anyway
Hands me a nipple says
These things travel in pairs
Woody Allen I say, hot and cold
Why plumbing parts sound like women parts
Hot
And cold
I fail to acknowledge that
Wisdom –
On the way to the register I
Think
In Oklahoma
We read about Haight Ashbury Hippies and
Pretended
About all that was
Different?
Geography and
Publicity
And
According to the remodeled asshole recovery nurse
Okies
Seriously
Might have bathed
More often

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Random NVDT – Writerly Concerns #7

Personal Accountability and THG III

R-E-S-P-E-C-T

Chungwipff makes a good point about using WordPress for personal accountability in the comments of Adieu For Now.  A point I had mislaid somewhere in the Social Media wasteland. Create something. Put it up. Own it. Do it again. Forget what anyone else is doing, or not doing, or how what you do is received. Give it your best shot, be accountable to yourself. Get out of your own way, write your story. Your way. My Mantra had gone walkabout. Thank you, Chungwipff.

I bailed on my personal accountability based on what I perceived as a landscape largely without a threshold knob for the noise floor. No gate/expander, wide open. Foolishness, vagaries, rampant narcissism. Which are none of my damn business. I control the threshold of my personal noise gate. I hereby revoke my tantrum and resultant self-exile. I do not revoke my opinion(s) on the root cause. This started as a methodology for personal creative accountability, and so it continues. Nothing else matters.

I have been guilty of accusing others of things I once tried. Looking for the equation, the silver bullet that would make me a “writer.” I once took a Tony Hillerman novel apart. Because they read like glass and drop you right into the environment without travelogue. How much scene vs. dialogue vs. narration vs. internal dialogue. Seriously. I bark at people now because it was a waste of time. Timing of events for formula writing is important. The rest is all storytelling. I was fortunate enough that my father was friends with Tony’s father. He was older than my dad. My dad, like me, hung around places he wanted to be with his hobby. I turned my hanging into a career. My dad made side money. As a photographer and short story writer. Saturdays we’d go downtown and hang out at Hillerman’s Photography. When he had a large job, like team pictures, my dad would borrow the Hillerman drum dryer for his prints. Tony the author, a man who taught English in missionary schools for Native Americans and in Mexico, said there was no secret. He sat down in a room with his characters and an idea for a story, and off they went. He committed little hash to the page, and then he came back with wax on – wax off. He wrote a story, did the work. No magic. Except, I think, for listening to his own stories.

There is no Silver Bullet. There are formulas. For arcs, for story driving events. But there is no substitute for a well drawn yarn. What sets the really good like Hillerman and Vonnegut and Steinbeck and Hiassen and King, David Foster Wallace, and true genius like Virginia Wolff apart is their stories. And their style. Perhaps there are only X number of conflicts and plots. But stories? Stories are everything, and they deserve our best shot. Stories and their telling deserve our respect because they are a gift. Not everyone has the mindset to escape, to dream, to see the mirage that is an untold story. Respect your stories. Your loss if you don’t. All I’m sayin’.

THG III

Starting in a day or two, I will begin publishing The Hot Girl III – Cambridge. It is draft mode. I cranked it out and it has languished on my hard drive for three years. Once upon a time there was an editor who knew an editor who thought it was a good idea. Both of them are dead. Must have been a killer idea.

Unless you beta read The Hot Girl, you don’t know these people, and this is the only synopsis/player scorecard you’ll see –

The Hot Girl is a social commentary fairy tale. Feminism, gender role confusion and rock n roll from the late Seventies through the mid-Eigthies. A bit like the taming of the shrew, who doesn’t need taming along with self-discovery, the perception of abuse, coming of age, true love and destiny all wrapped in fairy tale.

For starters, two star crossed kids, like any good fairy tale. Angry ex cheerleader (Deanna) looking for a cause and Rock n Roll Prince Charming (Jackson), looking for a Princess. Deanna hears someone describe Jackson’s mother, before she knows the woman is his mother, as “An elegant hell in high heels.” And sets out to discover feminism, because elegant hell in high heels sounds like the best gig since head cheerleader turned out to be a bust. But she’s at a superficial level. Until Jackson introduces her to a pair of rich, over educated lesbian feminist fairy godmothers, Amanda and Alix Morisé, who can be found here. The Morisé’s own a huge real estate development company inherited from Amanda’s father. They run their empire from the 17th floor of an office building in middle America. 1700 Oilman’s Bank Tower. And more than anything, they want women’s issues front and center, and they need a cheerleader. No one better qualified than an a very attractive, angry high school ex-cheerleader and overachiever with man issues, a sterling academic record and a temper. How Amanda meets Jackson in The Hot Girl I is an exercise in feminism kicking sexism’s ass, and listening to a woman. Deanna wants to know a real feminist, and Jackson, reluctantly, introduces them.

Think of a classic like Captain Blood. I wanted to write that, in different context, only I always wanted to know what the girl was up to while Errol Flynn was off pirating. I asked some women and they told me they didn’t know, but they’d be damned if she sat in her room reading poetry, sniffing roses and pining away while the non Pirate Prince Charmings of the world plied her with party invitations and gifts and scams and offers of wedding rings.

Some of THG is already up here, as short story. Here they will be presented in context. If you meet someone you don’t know, don’t worry, they won’t bite. Just climb in and take the ride.

THG III begins several years into Jackson and Deanna’s relationship and who she has become with his help. She is tired, again, of being told what to do. Tired of her mistakes in personal judgement dulling the sheen of her brilliant performances on the academic debate circuit where she takes feminism and throws it straight into the face of patriarchal strongholds and comes out with medals for both skill and humanitarianism. I will drop us all into what I call the “between narrative.” Between the bliss of young love and the glow of success, her mentor’s frustrations, and her need to run. Stay tuned.

Personal Accountability – Defined

I read an interview with Jeff Beck. He was asked why it takes a while between records.

“I’m the sort of bloke that’s like a ton of bricks, you know? I won’t be moved until I hear something that really sends me up in the air, then I’ll be around pestering everybody, playing for them. I can’t see the point in putting out an album, kidding yourself that it’s great, if you don’t believe it. You’ve got to believe in what you’re doing—and then you can take all the crummy reports that are going to come, and you can say, ‘Well, sod you, I like it.’ And that’s the main thing.”

Don’t Talk To The Whores

Remember Jackson from Fried Hog Poop? Here is my concept of narrative, getting him into his situation. Without pages of dense text.

Jackson rolled into the east side of Vegas on Easter Sunday, pulled the “Peeno Player Wanted” sign out of the window of a run down, rust and turquoise shit-hole motel called the Sea Wind. He took it in, offered it to the swarthy, bearded guy in the sweat stained white shirt who ignored Jackson and the sign he offered.

“Peeno player is me.”

“Yeah?” He gave Jackson’s hair a frown. “When this was?”

“I tried it once. Liked it. It’s my destiny.”

“Funny guy. You know songs people like? Last guy want to be Elvis. All time with the rollin rockin and everybody is babb-ee babb-ee babb-ee.”

“I thought being Elvis was mandatory in Las Vegas.”

“Maybe, babb-ee.” He squinted a little tighter at Jackson. “Me? I don’t like so much.”

“This is your lucky day because I don’t sing or do sing along.”

“Is good day for you, too, funny hairy guy because I think I’m liking you more, now. You have better clothes?”

“Like yours?”

Swarthy man raised one eyebrow like he’d practiced it a thousand times. “Peeno player only. Everywhere in Vegas?” He swept a thick, hairy arm in a wide arc, leaned over the counter into Jackson’s face, “I can find asshole who wants to be comedian.”

Swarthy showed Jackson some gold dental work, snatched the sign away from him and stuffed it in a wire basket full of paper. “I show you the place.” He flipped up the hinged counter, grabbed Jackson’s shoulder and turned him around. “First. Don’t talk to the whores. They waste your time to stay inside better air conditioner when should be working. You want to fuck one you pay the same for a room as anybody. If you cheapskate on me don’t fuck in your car where customer can see or they all start to do it. Shit happens that way I go broke in big hurry.” He pointed out the piano in a dim corner of a bar lit with red bulbs. “No blowjobs from under piano. Last guy banged hooker’s head on bottom, cost twelve stitches to me and too much talk to cops. Play what you want. Until customers ache their bellies to me and I fire you.” He turned, put a hairy finger almost on Jackson’s nose. “Don’t never play along with jukebox like Elvis guy.” He put on a pained face and silent scream and with both hands over his ears he tilted his head side to side. “Same shit different ways gives me headache,” he held his hands open wide around his head, “this fucking big.”

“When do I start?”

“When you put on long pants. And socks. You can wear bow tie, no shirt, I don’t care. But long pants. And socks.” Swarthy held out a foot clad in a black sock, encased in a Mexican Bazaar tire tread sandal that Jackson figured for a Sea Wind fashion statement.

“Right. Bow tie, long pants. Socks.”

“Good boy! Maybe you get hair cut sometime.” He lumbered back toward the office where two hookers stood in front of the door arguing over a room key that kept changing hands and left Jackson in the doorway between mildewed cool and the desert. From the Regent to the Sea Wind. But it wasn’t Taco Bell, and he wasn’t dead.

***

The Sea Wind sat right on the east edge of Vegas and the desert, so close the far north end of the parking lot faded into sand. It was a “plus tips” gig, and there weren’t many, and most of those were so he’d stop so someone could play the jukebox. The door was always open because the air conditioner was half-dead, flush the urinal in the men’s room and the plumbing groaned the soundtrack for The Exorcist and finished with a metal pipes thumping a Latin beat on sheetrock. The housekeepers called it the Hot Wind, Jackson called it the Breaking Wind. The lobby smelled a little like vomit, the tiny casino smelled a lot like cat pee, and he learned there was a stabbing every weekend. Usually on Saturday night. Usually in the doorway to the lobby. Usually about somebody not paying somebody else for something they shouldn’t have been doing in the first place. They wanted to charge him more to stay in a room than he was making, so for a week he slept in his car at the end of the lot where the sand started.

He drove around on his second Sunday in Vegas, looking for gas. He pulled into an ancient cinder block Mobil station because of the giant, metal sign featuring a Nineteen Forties cheesecake pin-up girl holding an oil can. He made friends with a guy named Michael who said he ran the ancient rust and cinder block station for his “lost inside his own mind Grampa.” They talked, drank a couple of almost frozen Nehi strawberry sodas from a cooler, moved on to beer.

Michael heard Jackson out, told him he could park his car inside and sleep in the service bay. Jackson took cold showers in the men’s room with the garden hose and hosed it down when he was done. Every now and then at the Sea Wind he could get into a room before housekeeping and take a hot shower, even though he was a little leery of what might be living in the plumbing. He shaved in the ladies room at the Mobil because it had a real mirror instead of the piece of bent chrome in the men’s room that made him look like one of those pictures of a kid, or a dog, that was all nose. Michael’s hospitality was Spartan but manageable. He was a little older than Jackson and had his own heartbreak story. And after about a week he was the first person to ever cast doubt on Jackson’s manhood.

Michael popped the kitchen match to life with his thumbnail. “She just got tired of you, man. She didn’t want to hurt you, you know.” He lit the joint, hit it solid but not too deep. “Didn’t want to call you pencil dick or nothin’. You were probably just a crummy piece of ass, girl had to roam.”

Jackson hadn’t even considered that. Didn’t want to, either. “Man, I’ve known girls who knew how to fuck. Crazy ass sex girls that ran me through the Kama Sutra and a couple of other books full of ideas. I never had any complaints before.”

“You ever ask her?”

“No.”

“Should have. Me, too, on that should have. We were engaged. She was a first-year third grade teacher, right here in Vegas. I came home and found a note on a Friday night sayin’ she’d run off with a textbook salesman from Baton Rouge.”

“If it’ll make you feel any better my dad used to say ‘There’s hell, and then there’s Houston. If the devil thinks you’re a miserable son of a bitch, there’s Louisiana.’”

“Never been anywhere but the desert myself. I hope she hates it. I used to hope he beat her, and if she came back? No more Mr. Nice Guy. But I couldn’t, you know, beat her or nothin’. Now I just hope she’s happy. Not too happy. Like his dick falls off and he can’t screw unhappy.”

“She tell you why she left, call you a pencil dick?”

“No. The note was the last of it.”

“‘Later, fool’ is a cold shot. You find a new girlfriend yet?”

“Nah. Hard to find one, even to have time to clean up and go lookin’. They got all the pussy, hold all the cards, man. Maybe Cinderella will pull in here one day, need a tank of unleaded and a self-service grease monkey.” He frowned, killed the joint between his thumb and middle finger. “Snowball’s chance in Vegas of that shit.”

***

 

Jackson couldn’t stop thinking about what Michael had said. Maybe he was useless, that way. Maybe if he’d tried some things on Deanna. Maybe some of what that girl welder and her Kama Sutra book and waterbed thought was fun, or some of Monica the waitress’s gymnastic sexual circus madness, Deanna might still be around. She made lots of noise all the time, though. The apartment neighbors would complain or beat on the wall, particularly on Sunday afternoons. Maybe it was just this Michael guy’s weed fucking with him. It didn’t work. He pulled the quilt out of his trunk, pulled out the bolt that held his passenger seat up, dropped it and passed out.

He dreamed of all the things he should have done with Deanna that she had someone else doing now. All of them laughing about him, how inept he was, what kind of pussy whipped idiot he’d been. She’d grabbed both sides of his face and pulled his head up. “Now,” she’d whispered through a kiss, before she pushed his face away to look at him. “Before I give you all of me, promise me you’ll love me forever. Please?” What a load of it.

At three in the morning he gave up on sleep, raised the service bay door and ran tepid water from the hose over his head. For lack of anything better to do he rotated his tires by hand under a sliver of moon that dared the puddles in the drive to last till morning.

Random NVDT – Vignettes

I’m always harping on do what you do, and do it well. And if there’s something you do well, kick it in the ass. I won’t go in to why we all get sidetracked, but it happens. Whatever it was has hit the road. And now?

I don’t reblog much. But an early days blogging friend has reappeared. And I think everyone should welcome her back. Here’s a classic, damn near perfect, vignette. Sense of place? I can stand on the sidewalk and smell it. We all know it. Few of us would be able to offer it up as magically and effortlessly as this. Watercolor wordsmithing. To me? This is story telling. Cencha, who knows Letti –

 

In the back I could hear the murmuring swell of gossip and repercussions, the rich tide of Spanish swirling like water down a drain.

via Chencha, Who Knows Letti — inksplashstories

Fried Hog Poop – No Charge For The Fold

Another “The Hot Girl -part 3” writing exercise casualty. Dialogue vs Narrative for backstory. Investment Alert – Long Read- almost 3k. Coffee or wine may be required.

Las Vegas – Mid-Summer 1979

Jackson loosened his red and gold silk bow tie and tried to clear his head of the endless piano bar requests for “After the Love Has Gone” before he stepped out the back door of the hotel kitchen with a couple of waiters. One male, one female, the three of them on their daily post-lunch-rush burn one and chill in the heat retreat.

The girl, Missy, was close to his age. Everyone called the guy Five-Oh because he dyed his hair, combed two-thirds of it back in a duck’s butt to cover the tanned or spray painted bald spot, left the front hanging greasy like Jack Lord from Hawaii Five-O. He could have been thirty or sixty. His sun spotted hands looked ancient covered in wiry, salt and pepper hair and they shook, wide and slow like a lazy blues vibrato when he passed the flat joints he carried in his wallet. He was weird, too thin and jumpy, probably a speed freak, but he knew somebody who grew killer, lime green hydroponic weed and he was loose with it.

Missy was too thin herself, wouldn’t talk to anyone but her customers. After her shift she changed into the same long, hippie-print tapestry skirt and a slightly dingy white, cap sleeve t-shirt, hit the joint with them and headed out the alley and west on foot. After a week of everything he said to her running into a wall, Jackson followed her. It felt like she was going to walk them to where the west side of Vegas met the desert if he didn’t stop her.

He caught up at an intersection, pulled out the first conversation starter he could find. “Nice bracelet. Indian?”

“I knew you were back there, space man. I missed the ‘walk’ light on purpose and waited up so we could bale this and stack it in the barn. I don’t need a boyfriend or a new savior or a better job or a better way or better sex or Avon or Amway or the New York City Sunday paper or anything you’re selling. Leave me alone.”

“I asked about the bracelet.” It was thin leather covered in beads and more of a cuff, almost like lightweight Indian biker wear, and laced on with orange yarn.

“Indian, yeah. I don’t know what kind. It was wide enough for what I needed, and the bead pattern was cool.” He thought she was going to bite a hole in her lip. “I lace it on and forget it. Thanks for caring. Gotta go.” She took off across the street without the walk light, dodged a couple of cars and kept on west. He watched for a minute, jogged in the heat all the way back to his car and drove west on Flamingo. He crossed under the interstate, saw her a quarter mile ahead. He rolled up in front of her, stopped and got out.

“This is stupid. Missy’s not your name, nobody’s really named Missy and nobody in Vegas nicked you with it.”

“I’m not from Vegas and it’s not your problem, is it?”

“I’m from bale it and put in the barn country myself. You don’t talk through your nose, and Missy is still bullshit.” He could see her frustration with him ramping up.

“Do you get away with this, wherever you’re from, talking to girls like we need to talk back and telling us it’s bullshit if we don’t? I told you —”

“You didn’t tell me anything, it’s hot as hell and you aren’t walking like you’re going anywhere. You can ride in the back with the tire iron like the last girl that got in my car, but get off your feet and outta the heat, tell me where you need to go.” They stared at each other for a few seconds. He drummed on the top of his car with his fingers while she fidgeted with the leather cuff. “Hey, I liked that one. Feet, heat.” She still wasn’t sold, but she let a quick, faint smile get out. He was gaining ground.

“What, now you’re some kind of prairie poet or something? I heard twang. Texas? Not tin can enough to be Okie.”

“Okie born and raised. But I’ve spent a lot of time getting it out of my nose and down into a drawl.”

“You’re not there yet.” She gave up another faint smile, crawled into the back seat. “Wow, baa-ad. The air conditioner in this thing works!”

He pulled away from the curb, had no choice but silence since his radio had been stolen, idled them out Flamingo in third.

“Nice hole you have in your dash.” She opened his back window a crack, lit a long, white filtered cigarette and blew “Kansas” out with the smoke.

“No Kansas without a tape player.”

“Me, you Okie clown. I’m from Kansas. Though where I lived? I could almost throw a rock and hit Oklahoma if I wanted.”

In the mirror he watched her make a face while she leaned, twisted, pulled a seatbelt buckle out from under her backside. “Now I’m living across town the other way in a runaway shelter, so you aren’t taking me ‘home’ anywhere around here, if that was your big ‘help Missy out’ idea.”

“Little old for that shelter, aren’t you? Twenty-two?”

She slapped the side of his headrest. “Good guess! Twenty-three. Twenty-four in August. They don’t check ID there, I don’t do hard drugs, and I wash my face with Noxzema to keep up my girlish looks. There’s girls in there not even fourteen look a lot worse than me. I hate the place, but it’s not coed, so it’s safe. Horny mixed up chicks I can handle. It’s horny, mixed up dudes I can do without.”

He checked her taking his temperature over that in the rear-view. “I’m starving. The no feed us rule at work sucks.”

“So does the food, space man. So really it’s like a benefit, you know? Them not feeding us.” She continued to watch him, his eyes keeping time between the road and her in the mirror. “They weigh that shit is why we don’t get to eat it. Every ticket gets a weight and they check it once a week to see who’s skimming. They even weigh those pans under the counter where they throw the fuckups away. The Mafia runs a way tighter ship than the Navy, that’s for sure.” She let the smoke and her mind drift a little, ashed her cig out the window. “I don’t eat much so it doesn’t matter to me. I walk all afternoon, drink a lot of water. My car’s broken, so I walk back to the shelter after dinner shift. They usually have some kind of chunks in macaroni. It’s slimy, but nice of them. And it keeps me from blowing away. But me and food. It’s just…” She watched the smoke curl, dropped the butt out the window, sighed and stared after it.

“I live on this end of town,” Jackson said to the mirror. “Out where they’re building houses. Not many restaurants yet. Not much of anything yet but apartments, stick framed houses not getting finished. The economy is what I heard. I was going to fix something easy. You can bring the lug wrench in with you.”

“You’re not dangerous, I picked up on that. Okie weird, maybe. I’ll come in ‘cause it’s hot, but I’m just gonna watch.”

***

Jackson made quickie stir fried rice with two Uncle Ben’s boil-in-bags, a bag of frozen veg, a couple of scrambled eggs and pepper. He set two bowls on the counter, grabbed Tabasco and soy sauce from the fridge. He splashed a bowl with some of both, forked the rice, shrugged approval. “I gotta do some laundry this afternoon.” He pointed to the main bedroom with his fork. “There’s all kinds of robes in the front bedroom. Take the tire iron when you’re done with the rice, toss your clothes out. No charge for the fold.”

All she could do was snort with her mouth full because he’d let that go without seeing it as a fantastic jest. “I can’t get stuck out here looking at a dinner shift with no clothes and some crazy Okie weirdo who hates radio. It’s not ever going to happen.” She spooned some more of the rice, shot the bowl of it with a generous dose of soy sauce and took it to the big front bedroom, yelled for him from inside. He ambled in with his bowl, watched her through the open double door on the closet while she slowly fanned through several dozen silk robes on plush hangers. She held a simple, long pink one under her chin, took three steps sideways to the full length mirror and whistled soft and low.

“Wowzer…” She hit the light switch that handled the atmospheric indirects, not the overhead “work” lights. “Will you look at that…How the hell do you live here on the piano bar, space man?” She leaned forward, slowly turning her head to take it all in. “Just being in this bathroom has to be a sin. What’s with all the clothes?” She caught a glimpse of both of them in the wall to wall mirror, blushed. “And the perfume and all these lotions and make up?”

“Office supplies.”

“Yeah?” She hung the robe on a brass hook by the door, gave it a loving pat. “Too much. Too-oo much.” He followed her back to the kitchen where she went straight to the skillet and spooned the remainder of his simple chef Chinese into her bowl.

“I’m only eating because this is the first time any man has ever cooked for me. And I can’t let that one get by, you know? Truly. Never happened before.” She talked around a mouth full of rice and veg, gestured with her bowl. “This could be a bowl of fried hog poop, but knowing a man cooked it for me makes it great, whatever it is.” She swallowed the last of her rice and veg, balled up her paper napkin and dropped it in the bowl. “Seriously. Lay it out, space man. What’s up with the bathroom and the silk robes and everything?”

“This place belongs to seven non-affiliated, free lance hookers. They rented the place right after it was built because it was in the furthest out burbs, no one is looking for hookers out here, and they don’t do business or live in the apartment. They pull up, come inside and prep, walk out dressed up in expensive, real world clothes, climb back in their cars and hit their appointments. Town and Johns are east, desert and construction are west, they live wherever they live. I make sandwiches or omelets, do their laundry, keep the place clean, gas up their cars, glue heels back on shoes, fix stuff. C’mere.”  He set their bowls in the sink, tossed their napkins in a can under it and walked her back into the master bath in the front bedroom.

“See that?” Jackson pointed through the glass surround on a garden tub at a shiny brass shower head the size of a dinner plate. “I put that in for them last week. A hundred and twenty bucks, no shit. From Italy, I think. That paddle thing on the side goes all the way around. From standing in the rain to that little circle of holes in the middle that will beat your ass. It’s —”

She pushed him out of the room and locked the door. Less than a minute later her clothes flew out and the door locked again.

He waited until he heard the bathwater stop before starting the load of hooker office wear and Missy’s clothes. He sat on the couch and watched a video tape of a guy with a foreign accent explain beginner guitar and music theory. He couldn’t keep up with the guy on guitar, yet, but it was good for his brain to stay on top of even simple theory. And the only other tape, the sensual massage lesson, would have primed him to climb, uninvited, into the bathtub with his nameless guest.

***

“Massey, not Missy? Ferguson? Like the tractor?” He leaned his head on the back of the couch in mock shock. “Jesus. Alice Chalmers would at least have been more chick sounding.”

“Hey,” she kicked him on the shin with a bare foot, “there’s nothing wrong with Massey. I just stay away from all of that except for government forms because I have to tell it all, like now. Only nobody else has cooked for me or washed my clothes since mama died. Tell me you didn’t do it ‘cause you’re a panty sniffer. I could use a friend.”

“I only sniff to check for clean or dirty.” He grinned, held up the red can. “More Coke?”

“No. I like to crunch the ice chunks that still have some taste of it. I’ve never, ever seen anybody beat up ice with a hammer before.”

“I don’t like cubes. Don’t know why, just never have. My mom indulged me, so it’s a habit now. When did your mom die?”

“When my dad ran over her with a combine ‘cause she was fucking Nueller down in the air conditioned garage of the Esso. I was twelve then? Yeah, twelve, and just a couple of days before it happened my brother’d pulled a shotgun on dad when he went off on mom, told him not to touch her again, ever. I didn’t blame her when it all came out. Dad’s about a pig and a fucking half. Fat, drunk mostly, showers when he remembers. Nueller was always shiny clean, smelled like Old Spice even on a hot day, always had a crease in his pants and was fucking every woman in three or four counties in two states who had a guy like dad for a husband.”

“Nice work if you can get it.”

She wrinkled her nose like somebody’d farted. “Not really. He’s dead now, too, Nueller is. The man who owned the Ford lot from over in Anthony waited for him to step out from behind the pumps and ran him down. He was going about twenty-five, nailed Nuellie with the dead center of a brand-new Ford. Backed up over him, ran over him some more. The paper said Nueller was smiling. The Ford lot man’s wife looked a lot like Marilyn Monroe, some kind of hot girl everybody said. I didn’t know her. Nueller probably thought it was her coming for him, not her husband. Happy to dead. Boom.” She covered her knees again with the slippery, oversized pink silk robe. She went thoughtful for a moment, set her glass of ice on the coffee table, looked at him and was surprised he was listening.

“I guess that’s the best way to go, you know, looking forward to something. Mama was miserable and said all the time she only stayed for me. I know she had to have heard that combine, had to know what was coming, and didn’t try to run or anything. Miserable to dead. Boom.” She pulled the sleeve of the robe down over her left wrist where the wide, beaded Indian bracelet lived when she wasn’t fresh out of the tub. “I think that’s why I’m still here. Some days I feel too miserable to die. If I get happy someday? Lightning will strike me, I know it.”

Jackson pulled the sleeve back, looked at all the small, white scars on her wrist. Nothing deadly, just knicks. Manifested frustration. She turned, chin in the crook of her arm, watched him unload the clothes from a dryer in a closet by the kitchen.

“The Indian bracelet you like? I only got it because it stops me. I know it’s crazy, but sometimes I’ll even pinch myself with a roach clip if I’m bummed. I’m right handed and if I tried any of that with my left hand I’m so retarded I’d cut my arm off. I really sort of need my right one or I couldn’t do anything and then I’d be more miserable and not dead.”

“Cutting your arm off might be a good start on dead.” He dumped the basket of dryer friendly panties, teddies, slips, nothing but lace and hooks bras, a couple of nylon halter top with hot pants onesies along with Massey’s clothes on the big, square coffee table and started sorting. He was almost done, folded her panties, dropped them on top of her skirt and t-shirt.

“How’d you know?”

He held up a small piece of v-shaped lace draped over his finger and her tired at the seams tiger-striped bikinis, raised his eyebrows. He also held up what had once been a bra and was now a lot of stringy elastic and shapeless nylon and cotton. “Your bra is shot. You oughta toss it.”

“And wear what?”

“Go liberated or get in the top drawer in the big bedroom. Probably forty in there. Two of the ladies are about your size. Find one you like that fits. They’ll never miss it, and if they do I’ll tell them the dryer ate it.”

She came back dressed, with an obviously lacy bra under the t-shirt. “You’re a weird sort of guy, space man. You cook a little, do laundry like a Chinaman. You’ll look at my legs and show me the shower but not to make me feel creeped. Where’d you learn to be a house boy?”

“Lived with a girl who failed home-ec. The rest was mom went to work. Simple survival.”

“Same here on the survival. Only my mama was murdered and he got away with it.”

Random NVDT – Writerly Concerns 2 & 3

Handling Time – I read another book. Very noir-ish. Well mannered hardboiled. The author used a device for handling time that I got chastised severely for early on by several editorial types. I asked if there was a literary device like the old film trick of calendar pages flying off at high speed. Nobody knew of one. My solution, like this award winning Harper Collins author’s, was to put dates and location in the chapter header. Examples –

11

Burger King on Sunset Blvd, Tuesday February 14, 2005

12

Gus’s Grimy Gulf Station, Needles California, June 2000

 What? Those are out of sync! In the book I caught myself reading right past those tags as I wasn’t used to looking there. Because there were no chapter titles. I’d turn a page out of a Hollywood cocktail party and I’d suddenly be seven years in the past with people I’d never met. A third of the way into the book.

Say you open a story in 2005 and you meet the players wherever. Party, little league game, barbeque. And you develop a story line. Then you want some big motivational or deep backstory for a character, bigger than a couple of lines, so you do the example above, say five years earlier. Character x working in a gas station, 2000. Then you go right back into the “current” time frame of the story with Character x interacting in some event. This all sounds like I’m dogging flashbacks, but those are often internalized and much shorter. This was blatant, here’s a get to know X chapter, out of sync. X’s story is a subtext and crucial, but rather than weave everyone in from the beginning, we are abruptly shuttled back and forth through time. I found it to be an attack on my (elderly) readerly equilibrium. As I’ve been told and told by editors it would be, and DON’T do that. But Harper Collins signed off on it.

Dropping in backstory and flashbacks are an art in themselves. Enough to inflate a character and put heat on them in a moment, not enough to take you out of the story (techniques this author also used very well). Those things are melded into a scene, we watch the character sweat or understand the how/why of their behavior(s). But surprise, Time Machine! Full blown didn’t see it coming silent evil Jack in the Box reads like riding with someone learning to drive a standard trans. I could see the effect the author was going for, like a film effect. We see what’s now, we back up and see what was heading for now. It could have been done with that chapter that was about a third of the way through the book instead tacked on the front end and we follow these people. All in all it read like watching Double Indemnity or Please Murder Me time shift noirs. First person right now action that keeps backing up to tell another story leading up to first person narrating from now story. It sounds clumsy and it is because visuals can clue you any number of ways. Books don’t fade to black and pop up a happy Norman Rockwell moment obviously in the past because of visual cues like the age of cars or fashions or architecture or horse drawn buggies. I’m so gun shy of the time shift technique, after having tried and my hand slapped, I won’t do it again.

But here are those nasty rules that drive us all crazy. Don’t write preludes, drop in backstory when you need it. Okay, but what if there’s an important bit of backstory that is bigger than “Burger King always made Dan sick”? Tell it early, skip a couple of years to now? Don’t start a story with characters in a situation that finishes what you develop before you get there. Okay. In now time we’re talking to Albert, that we don’t know is really Dan with a name change, out for revenge on Burger King. We drop a chapter on why Albert/Dan is pissed a hundred pages into NOW if we can’t write preludes? Well, I’ll write a prelude if I have to. It was good enough for Faulkner and Steinbeck. So there’s my writerly concern number one. How to handle time. Any ideas without breaking a rule, sing out.

Writerly concern two –  LinkedIn is another SM joke like WP and FB and all the rest, but I saw an article fly by the other day. “Don’t make people feel stupid. Drop the Jargon.” Talk about selling me out of reading your story with the title, hell yeah, thanks for the free time. Seriously, there’s only a certain amount of slang and/or vocational or subcultural vernacular people are willing to handle unless you want to narrow your audience to people who work the graveyard shift in dog food plant 17 in Farmersville. Even editors. “Did they really say ‘suck’ in 1979.” I don’t know, and you’re the only one who has asked, so…

I get the need for academic or cop or conspiracy or forensic or history procedural buffs who require their minutia fix. But by and large is it necessary? Like me and Moby Dick as a whaling how-to. I don’t care. Get to the whale. I ran into this issue writing about musicians. No way did I get off into a band futzing with the minutia of setting up, or brand names of things. Why? A very long time ago I learned, as a synthesizer clinician, all most people wanted to do was have fun. “Is that not the wettest, fattest most badass bass sound you ever heard?” “Check it out. We just wrote a song using nothing more complicated than an eighth note!” “Dig this!” I did a clinic tour of Mexico (more than one) and before I went the first time they asked, explicitly, that I NOT be another one of the legion of El Lay shit-jazzers and make jokes about how some sound was used in a US car commercial. So I wasn’t that guy. I played a couple of top Spanish language radio tunes and had them find me a chick singer in every town we hit who wanted to be Gloria Estefan and we tore it up.

Yeah, there will always the pocket protector guys in the back who want to discuss quantize resolution on the knobs or the sequencer, or what sort of quark drive did the Foonblat’s use to get to Boredom Outpost 417-a, but most people just want to make noise or read and have fun. Which is why, even in dystopian made up worlds, ease off the jargon. “Set your phasers to stun” is plenty. The fact that it fits in a holster and stops naughty aliens (most of the time) is enough. Have the creepy mechanic look under the hood, fan the steam, lick his lips and say “May take a day or two to get the parts. Ma’am.” Instead of going off into alternators and muffler bearings. My .02.

Standards update – These two things communicate the same information. The USB obviously communicates all sorts of information.

For size and the cost of a plug a majority of new tactile music controllers/input devices only come with USB. Because of course you’re going to use a computer, numb nuts. Everyone does. Let your computing device sort it out for you. What? You just want to plug this USB only controller into a MIDI device and play. No computer/phone/tablet? Even if the MIDI device is a computer masquerading as a musical instrument? Sorry. You need a host to MIDI box. Sixty to a hundred bucks. One unit at a time, no hub. Why? Computers sort out hubs, fool. Until – Thank God for someone paying attention to the market – This bad boy.

Not only does it host USB to MIDI, no computer (up to 8 devices) it plugs into a PC, a MAC and an iOS device and tells them all about it. All three at the same time! Or three of the same thing! Incredible! I watched a video of someone I trust using it, and I looked at the busier than hell breakout graphic above and BAM. It’s not free, but at least instead of shoving us into a box, it rips the flaps back and says “Outta the box, make noise any way you want.” Way cool. Too bad we can’t write like that and get away with it. Or can we?

 

 

Rasputin

I’m at a loss – There are two books in Bobby B if I flesh out the summer of Swamp Vue’s beginnings with some riotous misadventures. That was a self-imposed ‘write it till it’s done’ project. I could knock those two out in a hurry. Particularly if I don’t fall into my infinite polish a turd system and allow the tolerance for good reviews of mediocrity to be my guide. I have a collab to finish I haven’t looked at in 2 months. I have a real book sitting there that after ignoring it for a while is better than I thought it was. And I don’t know what to do here. Nobody cares, really, but I need a mid-week blog filler. I haven’t got the short story muse right now, Fridays I have under control since I know they’re random. What I want to do is drop part three of the Hot Girl in here, maybe a chapter split, two days in a row? Get some feedback? It’s not the soapy part, it’s the heartbroken OK you go to Cambridge and I’ll go to L.A. Call me if you come home coming of age exploits. Some of it is up here already, out of context. Here’s one more example. Yay? Nay?

The Hot Girl Part 3.1 – Rasputin

Tuesday September 11, 1979 – Los Angeles

The rattle of locks and chains stopped Jackson’s sideways fist from landing on the warehouse door for his third set of bam, bam, bam. The locks continued to rattle against the galvanized door, up the left side, down the right, then the middle. The rattles stopped, nothing happened for long enough he considered announcing himself to see if that would help. An electric motor behind the door started grinding, the door split in the middle and rolled away across the front of the almost waterfront warehouse. Three slightly older girls, all sporting a tangible air of caution, were spread out across the opening, the two on either side holding three-foot long steel pry bars. The middle one looked right and left down the alley with no name, waved to a forklift driver two buildings down before she turned and acknowledged him.

“Jackson?”

“Yeah. I –”

“Who was your ref again?”

“Audrey. Boriman. Atlanta Bal –”

She pulled him inside, the grinding commenced, considerably louder inside than out, and the doors came together behind him with a boom that seemed to reverberate forever.

“Sorry.” All three of them frisked him. “Weirdos. You never know.” The one who’d pulled him inside left them, lifted several industrial breakers and flooded the space with light.

Old welded angle iron and pine-plank bleachers like the ones at high school practice fields were arranged in a loose horseshoe in the middle of the warehouse. He knew by heart from reading the seat bottoms when he was a kid they’d hold “approximately 105 adults or 3, 250 lbs.” On the floor in the center of the horseshoe was a twenty by twenty-foot pad resembling a boxing ring. Its edges, the floor around it and the first couple of rows of the bleachers were splattered with paint.

“Aja,” the middle one, introduced herself. “Hope Audrey knew what she was talking about.” She stripped down to her flip flops. “Hard to find good help these days. Everybody can talk, nobody can do.”

“Uh…” Jackson eyed the other two still gripping their pry bars. “The ad said, ‘Painted Ladies Troupe seeks non-derivative sound artist.’ There wasn’t anything about, um…Clothing being, optional?”

“Are you high?”

“No, but I –”

“Excellent.” Naked Aja grabbed him by the elbow and pulled him across the warehouse while she talked. “What we do is totally dependent on a high level of intuitive interpersonal communication. We can’t…No, we won’t have the integrity of our work disgraced by tainted sensory reception.”

It was getting weirder, but art and dance majors all talked a stream of crazy shit most of the time, with or without their clothes, and he could hang right in the middle of it with them.

Aja marched him to the far, open edge of the splattered pad, lifted the lid on a large wooden shipping crate and proceeded to pull a wide assortment of junk out and toss it in his direction.

Jackson caught a few of them, had to let others clang and bang on the floor. Juggling metallic kitchen utensils and construction site junk in a “surprise, I’m naked!” interview wasn’t what he expected.

Aja continued to toss until she was satisfied with the mess of debris at his feet, dusted her hands. “Make us some music.”

He squatted, went through the chunks of pipe, wooden boxes and paint sticks, kitchen spoons, stainless steel dog food and salad bowls, sheet aluminum, a bowling ball with a chunk missing, a small galvanized wash basin and other junk.

“Lots of it, but not much to work with.” He held up a wooden meat tenderizing hammer, thunked it on a bowl suspended from a banana hanger, got a dull bunggggg for his effort. “Short term interesting, not very good percussion is the only possibility for most of this. The wash basin and some marbles would make a decent groove. Nothing lyrical. I’m not sure what you expect here.”

“You’re the ‘Sound Artist.’ Make something wonderful happen.”

He knew they were waiting for him to fold or build a drum set out of dog food bowls and fold even harder. He looked past the two expressionless security girls leaning on their weaponized pry bars, scanned the warehouse.

“That.” He pointed to the far corner where a version of every church basement and grandmother’s house upright piano sat, adorned with a psychedelic multicolored paint job and partially draped with a splattered canvas painter’s cloth. “I need that.”

“It will never be in tune. Piano players are like gum under church pews, and Piano Man is not who we…” She stopped, weighed his enthusiasm against her cynicism, waved in the piano’s direction. “We let you in.”

There was something unsettling in a naked girl with her fists on her hips in that “You’re wasting my time” way watching him push the piano across the warehouse while the ancient brass casters screeched on the concrete.

He scattered the pile of junk with his foot, spent a few minutes modifying the piano with odd bits and pieces, set a chunk of steel on the sustain pedal. At first he coaxed some eerie, metallic drones out of it by scraping the strings with a steam basket, ringing occasional dissonant bells from the top end with a broken tack hammer. He looked up and all three of them were naked. Rolling all over the mat in and out of what he supposed were modern dance poses. He abused the strings and soundboard with other objects from the floor, monitoring the ‘dance’ out of the corner of his eye and adjusting his output to their activity dynamics as best he could until he smashed a raspy, banged strings-on-aluminum-strip from the upper middle of the sound board and stood, eyes closed and arms wide, while the warehouse’s huge natural reverb decayed around them.

“Cool. The room lets you stand inside it.” He absently set two metal ladles on top of the piano along with several lengths of galvanized pipe. “I need an egg beater like I used with Aud. More dynamics.” He played a slow, out of tune arpeggio, the steel block still resting on the pedal. “I could get up inside of that with one and –”

All three of them, naked and slightly sweaty, hugged him. They helped him toss the excess junk back in the crate and dressed before they led him to a glassed in upstairs office that overlooked the small arena and handed him a steaming pottery class cup.

“Honest to God fresh roasted coffee.”

His first instinct was to refuse. After his last three girls and their Timothy Leary’s Gatorade in New Mexico he liked to watch his drinks being mixed. But they were all drinking from the same pot. He might die crazy, but not alone.

Aja pulled a chair away from an old, metal, paint splattered like everything else in the warehouse work table, pushed a box of donuts his way. “I was afraid you were another Bartok tone cluster wannabe. But…” She looked at him with clear, appraising eyes. “That was amazing. Magical.” She checked in telepathically with her two partners who had left their pry bars downstairs. “Yeah?”

“Yeah,” one of the ex-pry bar girls laughed. “Thanks for being the most disappointing piano player in L.A.” A comment that in any other context he might have found disturbing.

***

“You got a gig doing wha?” Dash had to set the bong on the counter while he coughed. “Sheee-it, my man. Fine, nekkid women rollin’ around in paint? However much they payin’ you be too much. As you have piqued my interest, what is the entry fee to witness this creative endeavor?”

Jackson loaded and fired the bong. “Two-hundred and fifty dollars.” He blew a series of smoke rings. “Fifteen hundred in the paint splatter zone.”

“Fuck me, slap my momma, order pizza for later. You shittin’ me?”

“The canvas auctions start at twenty grand. Unless they find something artistically disagreeable on one and cut it up into smaller pieces that add up to more money. I’m going to a show at some Warbucks’ pad in Malibu on Sunday. I have to be ‘Rasputin’ for a while, but you can hang if you’ll play my awestruck, culturally underprivileged token sidekick.”

“Depend first upon what a Rasputin be. I refuse to be seen in such an enlightened environment wearing a Sunset Boulevard at midnight collar.”

“I’m supposed take kitchen utensils out and gently abuse the inside of the host’s grand piano in a cocktail piano version of what I do at the paintings. While they all eat shrimp and talk art and admire their wall size naked chicks in paint art.”

“It is my assumption, as your friend and confidant in this affair, they be payin’ you too much for that artistically suspicious activity as well?”

“Mama said stand up tall when confronted by a truth.”

“I am down, my brother. For shrimp and a rich white people in Malibu tableau I will become the epitome of Buckwheat and suspend belief in any creative photography degree that bears my name.”