RANDOM NVDT – Writerly Concerns #21- Guest Shot

Fix it in the mix

A saying widely used both facetiously and in earnest in the music biz. Generally alluding to a high suck factor in a recorded performance that can be buried or overdubbed.

Here’s David Limitre’s take on FIX from a shotgun come-read-my-blog email. But I liked it. Because it is about word power. How we associate, how we interact with a word.

FINALLY! I may be getting a handle on this color thing. At least, what I want to do with color. I experimented with toning the ground first. Then the color seemed to appear quite naturally. You be the judge. 11”x 8”, collage, acrylic and graphite on wood. © 2019 David Limrite

“Failure is simply the opportunity to begin again, this time more intelligently.”
Henry Ford

Hi Phil,

Eliminating The Word “Fix”

If you use the word “fix”, as in, “Something is wrong with my painting, so I need to fix it”, I would like to suggest that you eliminate the word “fix” from your vocabulary.

To me, the word “fix” implies that my painting is broken and needs repairing.

First of all, there is nothing wrong with your painting. If you are having the thought that you need to “fix” your painting, all it really means is that your painting is not “there” yet. It means that your painting is currently not looking how you want it to look. Yet.

All it really means is that your painting is unfinished, and that you have more work to do.

It probably means that you want to re-work some parts of the painting. But, it definitely does not mean those areas are broken.

Eliminating the word “fix” from my vocabulary has provided me with a much healthier way of self-evaluating my work in progress. And, it helps me have a better attitude about going back into my paintings to re-work them.

Eliminate the word “fix” and let me know how much better you feel.

Best,

David

David is here: 

For all I know he’s the Dan Alatorre of painting, but I don’t care. Painting is one of those things like singing. You get it or you don’t. You can or you can’t. Kind of like writing. Some would be better off dictating. Remember when Herb Alpert and Burt Bacharach tried to sing? Like totally thank God for like Dionne Warwick, right?

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THG 3 – CH N/A – The Gangster, the Hooker and a Roll of Quarters

From Jackson’s vantage point on the piano bench it appeared Frankie, the “bartender” who’d hired him three months ago, knew everyone in Vegas. The big-shot gamblers, gangsters, movie stars, musicians, comedians, the “dolls.” For a barrel shaped boulder with a 24/7 five o’clock shadow he moved with an incongruous grace in a perfectly tailored tux and custom Italian loafers through the shoulder pats, two-handed handshakes, inside jokes, giggles, kisses on his cheeks or blown with a wink. It took him twenty minutes to work his way through the dense people cloud in the anteroom to the piano. He set his drink on one of the dozen or so coasters Jackson kept spread out on top, hitched his slacks up, lowered himself onto the piano bench and interlaced his fingers between his thighs.

“You been good for me, know that?” He looked around the anteroom between the lobby, restaurant and the Stiletto at the plush ‘gay-cor’ upgrades made over the last three months by Johnny’s girl Lou and Savannah the hooker. “Damn good.” Frankie drained his rocks glass full of Coke. “Lookit,” he turned his head in a slow arc. “Who’da thought you an that smart-ass whore would be the ones brought me some romance back to a corner room in Lost Wages.” He snorted, flipped Jackson’s Paul Revere ponytail. “Hippie motherfucker. Sure you wanna go?”

“No.” Jackson killed time while he kept loose track of ‘All the Things You Are.’ “But I need to amount to something besides Vegas lounge lizard and hooker houseboy.”

“Some guys, that’s their dream.” He jiggled the ice in his dead Coke, tried for the last drop while he side-eyed Jackson. “Lounge Lizard’s icing.”

“When I was fourteen or fifteen, I used to tell my mother playing piano in a whore house was my big dream. She told me not to tell her if it came true.” Jackson’s turn to hit Coke in a tall Collins glass. “So I haven’t. What’d you tell yours?”

“She run off with a Portuguese door-to-door knife sharpener, I was seven. Followed him out the door laughing, no suitcase, nothin’ in her hand but a bottle of vodka. My old man threw all her shit down the trash chute except a big stack of records. Put him sour on women for a while.” A waiter cut from male underwear model cloth glided up, replaced their Cokes and vanished.

“With two brothers, a sister, all workin’, at seven I got my houseboy job. I listened to that stack of her records while I cooked, cleaned, folded. Kept me sane. I was seventeen, figured if I had some money I could make a go of a restaurant. ‘Course everybody knew better. Laughin’, callin’ homo an shit on me. ‘Little men an queers run restaurants. Big boy like you should box.’ Since I was twelve, I hit a man he stayed down, where’s the kick for me in that? Fuck boxing, I wanted a restaurant.” He killed the new Coke.

“You should get a bigger glass.” Jackson let a passing chord hang forever before he dropped on the major 7 resolve.

“That shit there,” Johnny said, “you do that, everybody in the place is holdin’ their breath and they don’t even know it. You let it fall the whole room relaxes, wants to kiss somebody. Subliminal is what Savannah calls it. You do it on purpose. You ever get in a hurry?”

“Driving. Playing something plugs in the wall. Houseboy duty. What’d you do about the restaurant?”

“Somebody killed a friend of mine and his old man. Mindin’ their own business workin’ in their shop. For twelve lousy dollars. Had to do what had to be done. Things took off on their own after that, I never got my place. Why you been good for me. This is the place I wanted. The food’s lousy ‘less you like Savannah’s whore’s-derves, but nobody cares. I come in here and everybody’s glad to see me, see each other. Even the asshole Jews complain about everything are happy. Friendly. Like outta some movie. Good, y’know? Everybody needs a place don’t feel like sandpaper to some part of their soul.”

“You goin’ soft on me?”

“You ain’t tellin’ nobody if I am. San Francisco, Philly, Kansas City. Tulsa even, you can find places like that. Quiet, friendly, good music. All the time I’m sayin’ Vegas is a cheesy, no class fuckin’ carnival. Except here. I wasn’t scared of catchin’ somethin’ I’d kiss that whore brought me your picture.”

“Can’t sell that one. You’d kiss her in a heartbeat just to say you’d let her suck your tongue down her throat, ran off without paying her and got away with your balls.”

“Godammit…” Frank slapped high thigh, shook a little with a Santa Claus chuckle. “That’s what I’m gonna miss. You and Savannah don’t give a fuck I get pissed off at people bust my chops. So I don’t when it’s you two, and the doc says that’s good for me. The coasters tell me you expect visitors. Who you recognize in this room?”

“Nobody.”

“When you’re gone?”

“I played piano in a blind corner of an old hotel lobby. Never knew anybody. Except I might keep the one about the roof party and the guy that looked a lot like a movie star who tipped me a thousand dollars to play Grand Canyon Suite while the sun set.”

“He got drunk with a doll half his age in his lap. He ain’t gonna complain to me maybe you faked it. You and the doll both fucked him, ‘cept you kept your pants on and made two, three times what she did. Lookit, I’m not here to do memory lane with a fuckin’ hippie. People might get the wrong idea, like I’m maybe gonna miss you.” He clicked a black lacquer pen he’d pulled from inside his tux, wrote a number on the back of a coaster, slid it over in front of Jackson. “Any trouble on the way to bein’ somebody I’d still like to know,” he stood, drained Jackson’s Collins glass of Coke, looked around for a waiter. “Pick up a phone.”

***

The only word he could find for the way Savannah smelled was ‘expensive.’ He’d tried to justify that around her profession, couldn’t. It wasn’t what she did, or looked like or wore, she simply smelled like what diamonds would smell like if they had a smell. Barely there, nothing tangible he could pick out. Amanda’s hair always smelled that far off exotic way, like where magic carpets came from, Alix like a spring garden floating in through a window. Deanna…Ivory soap and lavender and a touch of Chanel. Clean. Even when she sweat. She smelled like…Deanna –

“I asked you a question.” Savannah had narrowed her eyes, knitted her brows together, pulled herself closer to him on the piano bench. “Am I dead? Disgusting? Bothering you?”

“No, no. Not…I don’t need anything.”

“Take this anyway. Don’t lose it.” She pushed an upside-down coaster with a number written on it in front of him. “In case.”

“Of?”

“In case you get lonely in La La Land.”

“I couldn’t afford –”

“You let me worry about ‘afford.’ Call, tell them you’re mine, done.”

“I thought my deal with pros was no contact. Or minimal contact. Besides, me and professional sex?”

“You’re not a houseboy anymore. And don’t go all romantic or pious on me, it’s the oldest profession for a reason. The best girlfriend in the world is one who listens like she cares, fucks your brains out and leaves. What did Frank want?”

“He gave me a coaster. Kinda like yours.”

“Yeah?” She looked over her shoulder, the twist brought her left thigh full contact with his right. His foot slipped and the piano pedal banged. “You have a problem, he’s the one to know.”

“I thought Johnny –”

“Johnny’s a puppet. He doesn’t make the PTA and apple pie people look mobbed up when they get their picture taken with him. Frank’s the man.” Her boobs brushed his arm. “God, can you imagine the Sisters of Hope selling prime geo at two-x market and trying to look angelic in their hard hats with Frank?” She stopped halfway back around, her lips an inch from his ear, breathed “What’s my name?”

“Savan-uhhhh….” He had to lean slightly to his left before her breath set his right ear on fire.

“Don’t forget it. It won’t take much of the L.A. Woman syndrome before you’ll want to use it and the number, trust me.” She tapped the coaster with a fingernail. “So when it gets that way, pick up a phone.”

“That’s what Frankie said.” He dropped his voice about two octaves. “Pick up a phone”

“Yeah?” She turned all the way back, put out a cigarette in the piano top ashtray with her left hand, let her right fall on his thigh. “Well, it’s a good thing you didn’t have that roll of quarters in your pocket when I sat down, babe, or I’d be worried about you two. Silly me,” She slid off the bench, leaned down and planted a bright red lipstick tattoo on his cheek. “For a minute there I thought you weren’t paying any attention.”

I must have 15 different ways in the can to get Jackson out of Vegas. Thoughtful, touchy feely, philosophical head time. This one cuts to the chase before he packs his car. It could have been considerably more elaborate, based on what I’ve read lately form some best sellers, but it gets where it needs to be and nobody has to have tags to show who they are, or how they’re feeling. I think…

 

RANDOM NVDT – Writerly Concerns #20 – More Is Too Much

If you cannot learn to love real art at least learn to hate sham art and reject it. – William Morris

I’ve had a theme in my head for some time now. It escapes editing and goes off down the rabbit hole. Because it is ill-defined. Excess? (yes, to me) Sloppy? (not always) Lazy? (lots of toil involved in some cases) Self-serving? (difficult to say). Style? (close, but…) Wanking? (depends on sloppy or lazy)

What I’m trying to get to is superfluous content, author agendas (preaching), and the middle of the road. By MOR I mean clichés, weak language, lack of logic. Which brings me to Lester Dent. If you don’t know Lester Dent there are numerous websites dedicated to the man who prototyped the superhero, much as Morris did for fantasy. Dent’s “Doc Savage” was better looking and more charismatic than all the 007s, had more toys than Batman or M dreamed of. Without Doc Savage Stan Lee would have had no one to put in multicolored spandex. Dent’s take on pulp construction is short and explicit. It should be studied for no other reason than the discovery of truth in short noir-ish fiction formatting. To the point –

Dent told a funny story about setting, and fooling editors (and readers). If you want a story set in an exotic locale, foreign land or someplace you’ve never been you had to sell it. The editors were fearful of misrepresentation and exposure of the author as a phony. Dent’s example was Egypt. To con an editor into believing you’d been to Egypt, or were an amatuer Egyptologist, throw in a local character saying something in Egyptian. Use the old ploy of having another character translate it, or the main character translate it himself. “Yes, Afkhan, I know it’s a tree.”  It also helps to find some pictures of the area to recreate, if only briefly. I would suppose along the lines of the distance between two pyramids a character had to cover without being shot. Palm trees or whatever, a crazy colorful bazar (Indiana Jones). A little of that and the editor signed off on Egypt. Note – a little. Just enough to sell it, not a full-blown travelogue for Egypt (or wherever).

I mention this because I have read some books lately that are more travelogue than story. I enjoyed Helen Simonson’s Major Pettigrew’s Last Stand save for the scheduled injections of rural Sussex that rivaled the output of the Romantics. She said in an interview that those parts of the book were a romanticized paean to her homeland. At least she owned it. And she could have pushed a real modern race/bigotry agenda in the book. Instead she made it a classic shot of Jane Austen-ish satire of manners with a touch of romantic fairy tale for the 21st century. Good for her. But I still flipped through the many pages of pastoral mist on England’s green and pleasant getting to the story. I should add I learned a couple of things about backstory insertion and character exposure tricks from that book.

Another glaring example is James Lee Burke. The man has sold a gazillion books. I picked up his Creole Belle at the library to see why. After maybe forty pages I have a couple of story, a lot of opinions about New Orleans, way too damn many descriptions of plant life. Characters can’t step out of a door without witnessing a half page laundry list of flora and bugs and snakes and the various states of the water – black in the shade, green with algae, glistening from a streetlamp and rain drumming in various quantities on every surface imaginable. I shouldn’t have had to get out my iPad and Googled botanical pictorial lookups to refresh my memory on caladiums and rhododendrons and fifteen other types of plants on the patio of an office building we’ll never go back to. Everything is described in massive detail. Substance rehab, stinky trailers, all a reason to go off for a page or more on philosophy and agenda and the evils of the world, the nasty yanks and the brave confederates. Some with not so transparent preaching ascribed to them. Do we really need all that shit to find out where Creole Belle went?

Tony Hillerman can put you on a rutted road in the New Mexico desert without all that. Robert Parker can put you on a corner in Boston, all you need. He can even wax good versus evil. You know Spenser and Hawk are hard guys without constantly being reminded of it. Yet Burke throws it in every couple of pages. Maybe because his big tough guys talk, on occasion, like teenage girls. “Isn’t that neat?” Like a couple of tough guys I read about trapped by gunfire saying, “What shall we do?” That wasn’t Burke, but he gets close. By page 40 we have been reminded 5 or 6 times the detective’s sidekick’s secretary is an ex nun. And the only dialect is Cajun Creole, from Creoles or Blacks. Everyone else reads exactly the same. Even the lady detective we’ve been reminded 4 times makes people uncomfortable because she’s a lesbian. You think we got the nun and the lesbian by now?

When people write like that, I wonder what they’re selling. Simonson admitted it. She also admitted to no liking the weather, the food and warm beer. All things she left out of her postcard from Sussex. All things Burke overdoses on. Minutiae. I find myself wanting to shake the book to get the crap out of it and get to the story. How much description do we need? How much clutter, how much crap?

***

The William Morris quote was taken out of context to sound elitist. I did that on purpose. It is offered below as contextual. Had I used it all up front it would have obviated the need for this post. That is, if you get it.

Simplicity of life, even the barest, is not a misery, but the very foundation of refinement: a sanded floor and whitewashed walls, and the green trees, and flowery meads, and living waters outside; or a grimy palace amid the smoke with a regiment of housemaids always working to smear the dirt together so that it may be unnoticed; which, think you, is the most refined, the most fit for a gentleman of those two dwellings?
So I say, if you cannot learn to love real art; at least learn to hate sham art and reject it. It is not because the wretched thing is so ugly and silly and useless that I ask you to cast it from you; it is much more because these are but the outward symbols of the poison that lies within them; look through them and see all that has gone to their fashioning, and you will see how vain labour, and sorrow, and disgrace have been their companions from the first — and all this for trifles that no man really needs! – William Morris, speech in London 1880

Two Updates –

1 – Someone asked me where I got the trite rant from – Here you go.

Thick tendrils of mist embraced the thick bases of the gnarled trunks transforming them into tortured faces. Deep knotholes became dark, hooded eyes and missing chunks of bark, sighing mouths. Frothy fronds of foliage framed  (Say that fast three times) the desperate looking figure like wild unkempt hair.

Margaret stood for a long, immobile second at the top of the stairs. The cellar, with its gradually unfolding secrets and strange silence, attracted her. She knew she couldn’t go there, but it sang an alluring siren song that was difficult to resist.

Roberta Eaton Cheadle.

Look for Roberta’s book The Nethergate to be published in September. I smell my favorite internet “editor” all over that. I made a comment about the redundant use of thick, the alliteration and the complete lack of logic in the second bit. I was told “We all like different things.” Count me in the group that likes things to make sense. My wife reads me excerpts from her freshman comp students. I considered them expert at stringing words together for effect not sense. Now I know published authors do the same.

2 – If you wondered, which I doubt, what I did to fix my own perfect sounding but illogical line in Octopus! you may go see the whacked version.

If you’d like to know William Morris The William Morris Society is a good place to start. He is considered by many, including Tolkien and C.S. Lewis, as their greatest influence on fantasy, utopia/dystopia and faerie stuff. Be advised do not go into that Morris lightly because a lot of it is in honest to God Olde and Middle English which is a lot harder to read than the pidgeon/pirate talk we have today. Plus it’s like really long. His speeches, though, rock. A consummate, if reluctant, rhetorician.

RANDOM NVDT – Writerly Concerns #19 – Fatuous, Trite Crap

Wanking – To pursue or perform something halfheartedly, improperly or without a clue in a middle of the road same ol’ shit manner. “Oh shit, that dude’s not really gonna not play Stairway to Heaven again, is he?” I managed a chain of 17 music stores and gave the staff at each location a chunk of brick shaped foam with “Wanker Brick” stenciled on it that they were free to throw at the Jump and Stairway people.

Here’s another one. I knew a guy in San Jose who could play any hot lick by any guitarist. He would string them together in a sales demo. Customers thought he was a God. The problem was, that’s all he could do. He couldn’t play in a band, never got a call back from an audition because all he could do was string phrases together that “sounded like” music. People used to ask me way back when, what is your problem with (the band) Kansas? I would say put it on and I’ll call out the trite rock phases strung together to create American Prairie Prog. That’s a whole other discussion, but the comparison stands.

None of the Dan Alatore school reads this so it’s okay for me to have an opinion that is personal only, and not put forward as fact, but I see a lot “Go, Tiger!” comments on his follower’s blogs where the content is no more than trite phrases, often illogically strung together to form short scenes. Usually of the ohmygoshangolly there’s a hole in the universe in my basement! (or my horse drawn coach, old well, farmhouse, castle, swimmimg pool etc.) If you want that, someone who does it with a very postmodernist and literate flair is here.

Otherwise, save the Nancy Drew time traveler to be amazed by the wonders of unfolding secrets in a dark basement. How does she know they are unfolding? Don’t ask me, it’s dark and she is immobile at the top of the stairs. Cosmic flashlight maybe? Eyes adjusting to the dark? Don’t mention that sort of thing thing, though, because in that universe it is perfectly acceptable to be illogical and whimsically day dreamy like a small town home schooled teenager without access to the internet or cable.

I recently saw someone make character struggle equations as they relate to Tolkien. Please. William Wallace Cook’s Plotto and Georges Polti’s 36 Dramatic Situations line all that out. Which brings me full circle to Fatuous, Trite Crap and Wanking.

Sure, there’s a formula. Holy moly look at Lester Dent, more copied and plagiarized and ripped off than any author since the 1930’s. He had a formula. There’s a formula for anything we want to write. The key is not to fill the pages with trite crap and borrowed phrases that “sound like” writing. Characters get into situations and things happen. Obstacle and conflict. We can do it Nancy Drew style, or we can just wank how we think we read what a successful or admirable author wrote, or we can try to write something that jumps off the page or tells the same old story in a good way. But we should make it about something, or someone, and not just wank our way through a formula or middle schooler’s day dream diary. We should write like we mean it. Even if it’s predictable (and it is) crap.

 

Hugger Orange

“Fuck…” Jackson planted his left foot, palms flat on either side of his gas cap, stepped into the push. “You sure the brake’s off, it’s out of gear?”

Dash leaned against the open driver’s-side door, flicked sweat off the end of his nose. “Tasks such as this are why auto-mobiles and I are currently at odds.”

“Fuck.”

“You ’bout in desperate need of a more di-verse and entertaining dialog. ‘Nother half a block, all we need.”

“You said that two, three blocks ago. Why the hell did we go to Venice Beach anyway?”

“I painted you a verbal picture of mustachioed muscle men in mi-nute elastic panties and beautiful women on roller skates in far less. You were overcome with a need to see those wonders for yourself. I was obliged to accompany, you a stranger in a strange land and all.”

“Fuck…”

“Must I admonish you further?”

“Whose idea was Ripple or whatever that was we put in the radiator?”

“The mixture of ‘whatever’ be a varietal blend of leftover fluids found in the Venice trash, and was installed under decree by committee. We come close to makin’ it, though.”

“Said the Titanic to the iceberg.”

“See what you come out with, you think on it?”

***

Jackson backed out of the passenger door of his dead ride with a shopping bag full of six years of console, under seat, trunk and glove box junk. He stepped away a few feet, took it in. All the memories. All the bullshit. There was still a quarter of a tank of gas in it. All he needed was a match.

“Somethin’ on your mind, Casper? I perceive a vibe that bodes ill for this sad piece of industrial sculpture.”

“Maybe we get a keg, throw a block party with a bonfire.”

“Block party in El Lay always a winning proposal. Famous bands and topless women a given. But an auto-motive bonfire spells R-I-O-T to the po-leece. We be fingerprinted and on Channel Seven ‘fore the fire’s out.”

“Fuck.”

“There you go again.”

“I can’t afford to fix it.”

“Don’t want to afford to fix it. Howsome ever,” Dash turned his palm up in a game show model’s ‘here’s your new washer and dryer’ move. “Even in its current immobile state ride still looks cock. If you will allow me to speak on your behalf with a brother I know who specializes in vee-hicular transactions I might persuade him to offer you a modest amount of cash or functional in-kind trade for your lifeless possession.”

“You have a friend who deals in dead cars?”

All kinds of cars. Magic is afoot in East Compton, my brother. Buster put a black Jag-u-ar in one end and a red Lincoln pops out the other. Same may be said of dead or damaged in, alive and well out. Shined all the hell up and runnin’? This’ll be seriously ripe for a low down and payments guaranteed to last longer than Star Trek reruns. Buster will perceive, as I do, that a Messican or pimply-assed kid will think their dick grew three inches they find themselves behind the wheel of this aww-toe.”

“He’ll keep it the same color? I’d hate to —”

“Output color depends entirely on condition and Buster’s means of acquisition. It’s legal and wrinkle free. Only his feelings on Day-Glo Orange come into play.”

Hugger Orange.”

“Nigger, please. A rose by any other name, we understand each other?”

***

Jackson followed Dash down from the wrecker cab in a swirl of east Compton dust. Dash took a fistful of cash from a tall, skinny kid with red eyes and an eighteen inch ‘fro, disappeared through a heavy, steel-clad door. A few long minutes passed and from the minor sea of Quonset huts and rutted gravel a primer coated 1964 Impala SS with shiny bumpers, pimp wheels and zero trim pulled up purring smooth and low like a fat cat in a circle of sunshine. A sweaty, wiry gray-haired black man in grease stained pin-stripe overalls stepped out, leaving a hint of Bay Rum and an old time barbershop in his wake.

“You bein’ the only thing white I see ‘sides the garage door, this’n must be yours.” He stepped around, popped the hood, spit tobacco juice in front of Jackson’s feet. “Supra Sport Shivvies came stock with a 409. Big and dumb as our current crop a heavyweights. I put this new 327 crate motor in yestiddy. Old with no blue smoke keeps the gov’nor happy an the po-leece away. Break ‘er in easy she’ll stay that way. ” He dropped the hood, wiped his hands on the red shop rag hanging from his back pocket, spit again. “Small block’s lighter, lets you keep some rubber on the tires, drives past a gas station ‘casionally. Axe me, rides some better, too, all that weight gone. Had in mind to paint it, but you come along.”

He paused, examined Jackson like a man encountering a disease. “Air conditioner blows cold, no back seat, no radio. No charge for the trunk mount spare cover. It come in from somewhere, don’t fit nothin’ else, tired a walkin’ around it.” He held up the keys, dropped them so quick Jackson almost missed the mid-air save. The old man nodded, spit another stream of tobacco juice. “The Dash be along drekly with paper an plates.”

Jackson watched the man walk away, his bowlegged side to side gait kicked up light puffs of gravel dust, a walk punctuated with an off-beat sway of the shop rag hanging from his pocket and an every fourth step spit. “Nice to meet you, too.”

***

“Needs paint. Legal, mostly. Nothing due, no change, even up.” Dash put his hands on the door sill. “You an Ellis get on?”

“You mean the old guy who spits redneck diarrhea, no. No handshake, no thanks. No take it easy, no fuck off kiss my ass honky punk. Must’ve left all that in the same place as the back seat and radio.”

“No radio?” Dash’s head rolled back. “Muh-ther fuh…” He tossed the plates and registration on the passenger seat, went back through the heavy door, wasn’t gone long, wasn’t happy coming out. He landed in the seat, right leg still out, hand on the door. “Hang left, follow the drive around back. Stop where I tell you.”

Jackson stopped on command, Dash slid out, vanished behind a corrugated metal door, was back in under thirty seconds with a nearly new Delco combo radio and cassette player from a Cadillac. He eased back into the passenger seat, set the radio where the back seat should have been. “Radio’s for the shit paint job. I told the motherfuckers, you know, I be ridin’ in this aw-toe and you were cold as ice. Next thing I’m back, askin’ all them old domino an Jack niggas sittin’ around, you know, what’s their fuckin’ damage, where’s my fuckin’ radio? They tryin’ to fuck a brother ‘cause I brought a deaf dumb and blind cash money client to their criminal empire? Motherfuckers. ‘Take the deal, fool, you an the ghost take a walk’? Fuck they doin’, talkin’ that shit to me? Thinkin’ I didn’t come up in here, don’t know their shit?” He took a breath, smacked the door sill. “Fuck it. You drive, I’ll di-rect. Weekend comin’, college calls on Monday an I need some unwind time. You’ll be droppin’ me down to Lakewood at my little slice of heaven’s place. I’ll draw you a map home from it on the way.”

Jackson drove south out of east Compton, Dash ranted on Buster’s crew like they were his dysfunctional family while he took a BIC Stick and drew a map on a paper napkin that would have done a retentive Renaissance mapmaker proud. He had Jackson roll up slow on a semi-residential, semi-small business street in Lakewood and stop near the middle of the block.

“You get to the crib, call your people. Tell ‘em you’re alive and where you’re at, how wonderful your new friend Dash Man be. ‘Cause if San Andreas opens up an your white ass drops they can tell the bloodhounds start lookin’ for you in Long Beach. They need to find you and this ray-dee-oh on the west side, don’t need nobody sniffin’ around my shit in Compton. Least till Buster’s player’s caught some chill.”

“Anybody. You don’t want anybody, or anyone, sniffin’.”

“You gonna be the grammatically co-reckt English Nazi all the fuckin’ time? I thought you played music or some shit.”

“Habit. Can’t get sloppy. People take you more seriously when you don’t talk like a refugee from a corn field full of single-wides.”

“Your accent don’t clean up soon you’re gonna need all the help you can get you expect to gain some on serious.”

“Doesn’t. Not don’t. Accent doesn’t clean –”

“We have arrived, Jeeves. I doesn’t require your services any longer,” he interlocked his fingers, popped his knuckles. “You straight on how to get to the crib?”

“Yeah. And ‘don’t.’ That one was ‘don’t.’ Like that shit’s bad for your hands, don’t.”

“Get back to me, I ‘don’t’ got room in my head for any of that shit today. You know where the stash is. Blank’s for the drive.” Dash tossed a thin black cigarillo on the empty bucket seat, lit one of his own and walked away. Jackson leaned over to pick it up, looked out the window and damned if they hadn’t pulled up in front of a beauty shop called Little Slice of Heaven.

RANDOM NVDT – Writerly Concerns #19 – Say What?

“Hey!” The middle of the pack, size and age wise, from the table full of after work happy hour females grabbed his arm, turned him slightly. “Yeah, you. Austin.” She flipped his name tag with her left index finger, out and ready to stab the shaggy college boy waiter in the chest. “What was that about, giving us the finger, calling us ‘the mean girls’, huh?”

“Whoa…I didn’t give anybody the finger. You wanted more chips, I pointed with the finger I could use, called Dominguez to set you up.”

“Right.” She twisted his wrist enough to see the pen clasped against his ticket book with his index finger. A small, brown, springy, mustachioed man carrying a tray of full chip baskets, stopped, blocked by the scene. Engraved on his name tag, DOMINGUEZ.

“Señor? Señorita? Con permiso?”

Austin backed out of the woman’s grip, bowed slightly. Dominguez passed sideways between them, dropped the first basket of chips at the women’s table.

Her face took on the look of a squeezed beer can before she brushed off his arm in a feeble attempt to erase some leave behind of embarrassment. “Sorry…”

“No problem.”

She dropped her eyes and hurried back to the table. The woman who had been seated next to her waited for her to drop, furrowed her eyebrows, leaned forward so she could see her friend’s face. “Jeannie? What the hell?”

“Nothing. I…Shit. I thought he gave us the finger, said something, you know…Never mind. We need to tip him like we’re half drunk and think he’s cute.”

You need to tip him like you are drunk and think he’s Brad freakin’ Pitt. Jesus, girl, you coulda gotten us all thrown out.”

Dominguez rounded the corner into the waiter staging area, empty chip basket tray tucked under his arm, paused by Austin.

“’Ey, amigo, the mean girls. They are happy now?”

***

Does everyone see what’s happening here? Noisy probably franchise Mexican restaurant, cocky long haired college boy waiter, table full of after work women in as many sizes as ages? Do you need the decor? Blow by blow, sitting down, history, drink order? I could have had him explain the Doh-meeng- gez/ The Mean Girls, explained the noisy restaurant. Why? A good scene, to me, isn’t about the ambience. People will tell the story. Dump the exposition, get right in the middle of it.

When I first started writing again, call it 2015, I dropped straight into it, whatever the scene was. Right off the bat I got beat up. Where are we? How did we get here? What’s it look like, how does it smell. I went on the scene building quest. I learned that you can dial it up or down, depending on if you think the scene needs it. And if you’re good you can condense a few big sensory things and get on with the story. And if it’s a re-visit, something happening where we’ve been before, (or is generically ubiquitous) just go on in and make yourself at home.  The Hundred Acre Wood is not about the Hundred Acre Wood, you know? We go there and magic happens, we don’t get a thesis on deciduous tree bark.

I noticed in my last story upload that the location and characters were condensed, but it seemed like everyone knew where we were. Saw the people, got the story. I mention that because after several books lately I’m off that big scene building thing. I studied and even the best dystopias, like Vonnegut, are sketched. In a good author’s work people emerge quickly. MacDonald is the master of condensed appearance and behavior if one wants to give out a character’s polaroid. A page and a half of the English countryside, or Los Angeles or New Mexico or the Rocky Mountains or Egypt. Why? “Some people like that.” Good for them. Some people like adverbs and dialog tags and I’m not much for those, either. The point is, write for yourself or you’ll derail yourself. Next time, a funny story about Egypt and the little magic trick of a few foreign language words.

***

In 1970 Elmore Leonard’s agent called him. The conversation went something like this –

“You read The Friends of Eddie Coyle yet?”

“No.”

“You need to.”

That goes for all of us who would write in the less flowery American Noir style. A style which I feel needn’t be limited to crime novels.

Back to the drawing board.

 

THG 3 – CH 22 – Shining Example

Mid August 1979 / Long Beach, CA – Jackson makes it to L.A.

“Shit.” Jackson wiped his forehead with a sweaty dollar-at-the-truck-stop bandana, leaned back in the seat, looked through the glass and a chain link fence at the funky old house behind the parking lot. Grass grown up around an unused lawn mower, a swingset frame, chains but no swings and a pair of bicycles. Next door, to Jackson’s right and past its own overgrown yard with several pieces of long ignored playground equipment was an apartment building. An older, two story shotgun style job with parking underneath an overhang down the right side. There were four windows upstairs, the middle two open and occupied. A blonde kid was looking out of the window on the right and a skinny black guy with three-to-four- inch spiky dreads was parked in the left. Jackson hoped his predicament was entertaining them. He opened the door, thought about going into the bar, finding a phone. Why? He didn’t want a beer and who the hell was he going to call in L.A. and tell them about his car that was leaking coolant from the block and overheating?

“You’re not a regular.” From the little girl in the window. Maybe ten, eleven, blondish, needed a hairbrush. “What’s your name?”

“Jackson. That’s all of it, either way. Story if you want it. How ‘bout you?”

“I’m Sky. My mom’s name is Star, but she’s at work.” She looked down, brushed something off her t-shirt. “Yeah, I know, it’s backwards. Mom should be the Sky and I should be her little shiny Star, but Gramma? She screwed me into ‘splaining that one forever by making Mom Star first.” She shook her head like she had water in her ear, messing her hair more. “Mom, too. She could have given me a real name, you know, that wasn’t more hippie junk.” She disappeared, came back with a can of Coke. “Your car broken Mr. Jackson? My mom’s does that sometimes. Smokes and leaks and won’t go nowhere.”

“Anywhere,” Jackson said. “Won’t go anywhere.”

“Fuck that shit, Mr. Jackson. It’s summer.”

The black guy had been watching Jackson, interested, but detached. Like a man would watch a puppet show or a street mime. “Your momma’s gonna have your bee-hind talkin’ to strangers, Sky.”

“Shut up, Dash. He’s white and clean and prolly lost. He’s not fucked up and ain’t got the shakes looking to leech a pipe hit or for a bindle a freak mighta dropped or nothing.”

“Anything,” Jackson said. “Not looking for anything. Don’t you go to school?”

“Out for the summer. I told you. Are you some kind of teacher? With a broke car? I’m not doing no homework in summer, so you can drop that in the Sky don’t give a fuck can down on the corner.”

“No teacher,” from spiky dreads. “He’s got nearly ex-pired Oklahoma license plates, Sky. I’m thinkin’ runaway. Or maybe a dope mule. Okies need their fix same as anybody else.”

“You a dope runner, Mr. Jackson? There’s a lot of that goes on in the parking lot where you’re at.”

“Nope. Not a teacher, not a dope runner.” He climbed out, sat on the fender of his car and laid out his ‘got lost trying to get to USC’ situation through a chain link fence for a ten-year old girl with a thirty-year old mouth and a chilled black dude hanging out the upstairs windows of some apartments that backed up on a dive bar parking lot not far from the Pacific Ocean.

***

“UCLA is closer, yo, than USC. To where we’re at anyway, ” spiky dreads said. “Me? I’m homegrown Trojan. I grab the express on the corner or catch a ride up the 110 or Ocean, the 405 maybe if I have time. Like how you be needin’ to go when that Day-Glo beast breathes its last. Fact is you need to move your aw-toe out of that lot now, while it will co-operate, or they be towin’ it with you inside. Po-leece in Long Beach need their impound money, bartender gets a piece. Out of state makes you a double hit sucker.” He vanished from the window, came back blowing smoke rings. “Homeless, all that hair and talk of music school speaks such that we may have arrived at a mutually beneficial crossroads, so look here, Casper Jack-sown. I got a no-tow parking pass this side the fence ‘cause I have a place here and no ride. You pull Day-Glo around, park in front or down the other side underneath, number 7. Do the walk through the middle, step on up, hang right. Okies an brothers both second class citizens in El Lay. Less you have some southren background problem with black people an shit.” He held up a pink acrylic bong blocked from Sky’s view by his body, raised his eyebrows.

“That’s how Okies got the panhandle. Texas wanted slaves and had to fit below that invisible line where life on the other side was supposed to be different.”

“Why there’s more Messicans than brothers in Texas. Come on around, my pale brother. Step up.”

***

Jackson eyed DaShontè Calhoun’s apartment with a touch of fear. Not physical fear, like he was in imminent danger. More like what was going to crawl out from under the pizza boxes and beer and Coke cans and dirty clothes covering the old wood floor and bite him kind of fear. He handed the bong back across the open counter into the kitchen.

“They call me the Dash.” The bong got dumped, rinse water turned on. “That’s gospel, about your name? Just Jackson? Shit’s some easy that way. I’m not here much, so we won’t be a trouble, bein’ up in our respective shit, follow? I eat, I drop off clothes till I don’t have any then I find me a lady can wash ‘em. Where I am, most times. At a lady’s place, know what I mean? The rate?” Dash wrote a number on a piece of thin, six-pack carton cardboard, set it on the counter.

“Double that is right.” Research before he left Vegas told Jackson he couldn’t touch Dash’s deal anywhere in L.A. “You really need a roommate?”

“No. You do.”

“Truth.” He toed a Dr. Pepper can into a small pile of other cans leaning like a snowdrift across the back of a clothes covered couch, held up the piece of cardboard. “You sure about this?”

“Indeed. Place be subsidized in part by scholarship. Only fair not to jack you, you bein’ my steppin’ stone in the di-rection of slum lord and bein’ your first day in El Lay.” He measured all of Jackson’s mental machinations, let the room breathe. “Well, my brother, are we to set a shining example of racial coexistence for the entire city of lost angels to follow?”

“Okay. Yeah.” Jackson flipped the cardboard at a pizza box. “Hell yeah.” They shook, slapped skin and fist bumped over the counter. “Phone there part of the deal?”

“Outbound. Incoming, too, were I to know the number. You see, that telephone line is liberated from the egregiously totalitarian and unsympathetic communication monopoly. If you were, say, to hold the flashlight long enough for me to use the tools liberated from said monopoly I could obtain that information. Sadly, the last time I was in the telephone box across the street after midnight someone called in a black Peeping Tom. Po-leece be prompt about that sort of thing rather than involve themselves with the drug traffic and gun play in the bar behind us, so I had to make haste back to my, our, abode. Where the storm troopers did eventually knock and inquire of me had I seen any suspicious activity, as they often do of this entire complex.”

“At one in the morning?”

“Thereabouts. The gunfire we mention to them is never a concern. Howsome ever a negro pervert on the loose is not to be taken so lightly.” The wink was stagey. “Show you the bus in the morning. We bump to USC with your big brown envelope, get you signed in and up and every which way they be havin’ you.”