Certificate of Authenticity

When she saw the Welcome to Umbridge Enterprises sign, painted in a trendy whitewashed font on a plank sign on the side of the two lane, Annabelle whipped the rented Grand Cherokee across a small sea shell parking area in danger of being overgrown by saw grass, parked between a faded used-to-be-red Ram pickup and a new, black Mercedes SUV. She put her right hand in the square red leather shoulder bag, took the safety off her Glock, stepped out into the bright Florida sunshine.

She started across the fifty-foot arched wooden bridge paved with asphalt shingles that led to an unpainted, faded cedar shake façade manufactured home surrounded by a covered veranda that sported a random collection of patio and beach furniture and a pair of rusty propane grills. The waist high ballustrade was draped with fake fish nets, adorned with faded plastic starfish and seahorses. The whole mess sat on pilings over the St. Johns River narrows and tied to a floating dock behind it was her missing white Swamp Vue Cabrio.

***

Preston Umbridge clicked the remote, brought up the four-panel screen of security cameras on the wall mounted TV. “Either of you two pig fuckers order up a jigaboo hooker?”

“What the fuck, Boss? Fella was about to nail him a big ass gator an – whoa shit,” the dirty wife beater and camo cargos clad Pillsbury dough boy on the couch sat up. “Who the hell is that?”

“No shit ‘whoa shit’ Wally. Fuckin’ dumb ass.” The tall bony guy pulled on his waders, pointed at the screen. “That’s the nigger woman we done stole the boat from, that’s who.”

Umbridge dropped the remote on his desk. “You’re telling me you two idiots was so obvious stealin’ that boat a woman could find it? Shit.” He ran his hands over his hair and beard, wiped his lips with his thumb and forefinger. “Don’t just stand there, Steep, let her in ‘fore she breaks the goddam door down.”

Annabelle, black leggings and long tailed black silk blouse, matching red heels, earrings and purse stepped into the man cave of Umbridge Enterprises. “Good afternoon, gentlemen. Annabelle Monette. Whom do I have the pleasure of addressing?”

Umbridge stood behind his desk, undisguised snicker in his voice. “Preston Umbridge, may-am.” He bowed. “To my right is Mr. Walrus. My associate Mr. Steeple let you in. Without an appointment.”

“I make my own appointments. Walrus I understand. Too much mustache, belly and ugly. Steeple makes no sense to me.” She studied the man walking back toward his boss. “Beanpole, maybe.”

“Now, now. Legend says Steep’s sainted Momma christened him with it just before she died, lookin’ out the hospital window at the First United Methodist Church of Mun-row bell tower.”

“I had an Ontie named Iris and she told the same story about flowers in her momma’s garden. We could go on about the Indian named Two Dogs Fucking in the Mud but let’s not waste each other’s time, gentlemen. I have come for my boat.”

“I’m sure we don’t have ‘your’ boat.” Umbridge tugged his longish manicured beard, puffed up. “And if we did, I doubt we’d return it. Things that end up here are like gifts. Or tithe offerings. Ain’t that right boys?”

“It’s the white Swamp Vue Cabrio tied off next to two patent and intellectual property theft counterfeits. Both to be confiscated and destroyed as contraband. The Swamp Vue is not now, nor was it ever, a gift.”

“The white one?” Umbridge put a point on ‘white.’ “That’s different. Lessee, Cabrio, Cabrio…I recall having a Bill of Sale for that somewhere.” He made a show of opening and closing drawers.

“Never you mind looking for it. I have an equally legitimate certificate of authenticity for the lock of our Lord and Saviour’s hair my Ontie Delores keeps in a Café Du Monde coffee tin and prays to five times a day.”

“Ain’t nothin’ any of us can do about our families, is there?” He slammed  the drawer he had open. “I also seem to recall Larson makes theirselves a Cabrio. Whattaya think it’s worth to them to find out about yours?”

“I’ve spoken to them and all the lawyers are satisfied that as I do not manufacture mid-cabin drug-running speed boats there is no conflict. That’s how it is when people cooperate. Had you come to me with a franchise manufacturing offer we might have bypassed all this unpleasantness. I am not a fool, Mr. Umbridge. After I talked to your local people, showed them the manufacturing paperwork, patent applications, all more than most around here could read in a lifetime I concluded that I needed to look elsewhere for assistance in recovering my property. And to come see for myself what a genuine corrupt, low life thief and liar Floor-ida bad man looked like.”

Walrus flicked open a three-inch lock back pocket knife, cleaned his index fingernail with it. “We don’t cotton to name callin’, now. Smokes and O-yays particular doin’ that shit ain’t seen much of after.”

“Where I came up in Detroit my momma’s paperboy was more dangerous, and considerably smarter than all three of you put together. I’m not here to get in a pissing contest with some Little Dick-ey Mafia fiefdom, I’m here for my boat and to bring you the gospel according to Annabelle Monette.”

Umbridge held out an arm to stop Walrus. “Which would be?”

“Not everyone is scared of you Mr. Umbridge. Least of all me. Come hell or high water, with or without your blessing, I will sell boats in central Florida.”

Walrus took a step. Without looking Annabelle pointed her non-purse hand at the television. “While we’ve been having our little chat, those gentlemen arrived to pick up my boat and destroy your copies.”

“What the hell?” Umbridge pulled a revolver from his desk drawer. “You two, what the fuck do I pay you for? Go stop those mother –”

“I wouldn’t. Those are Federal Marshalls. From Miami. Looking for you to give them a reason to level this place once I am safely out the door.”

“She’s fuckin’ lyin’.” Walrus took another step Anabelle’s way and one of the counterfeit Swamp Vues below went ka-whoooom. The explosion sent a geyser of water and debris up past the sliding patio doors at the back of the office, rained down on the roof.

Steeple slid the patio door open, leaned out over the veranda rail far enough to see the brown-water gun boat, look down the barrels of its 50-caliber machine guns. “She ain’t lyin’, Wally.” He glanced down further, counted at least eight red laser-sight dots on his chest, and froze. “No fuckin’ shit she ain’t lyin’.”

“And wired, too. Goddammit.” Umbridge grabbed Steep by the back of his fishing vest. “Git back in here ‘fore you piss yoursef.” He turned a red raged face at Annabelle. “We’ll continue this discussion, Annabelle Mo-nay. Soon.”

“My door is always open, gentlemen. If you come, wear shirts with sleeves. I only need to see three cheap, dirty white men in cheap, dirty wife beaters one time to know it’s not an experience I choose to repeat.”

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Grab My Purse

It was nice to have Bobby and Annabelle back, thou, trapped in a warehouse fire by a ruthless Dixie Mafia type who doesn’t want Swamp Vue to sell enclosed swamp cruisers in the Everglades. If you read this from book two you’ll know what happens. Without further ado, the edited version –

The sixty-foot-long string of fire along back wall of SwampVue’s old galvanized odds and ends warehouse didn’t go up with the special effects wooomph Bobby thought it should have. It wasn’t all that big yet, either, just a trickle of fire across the bottom.

“Those two sonsabitches.” Annabelle pulled a Glock 26 from her purse, set it on one of the overturned buckets they’d been using for chairs.  She stepped into a black fire-retardant mechanics jumpsuit she’d found a box full of them in the warehouse, zipped it, pocketed the Glock.

“You figure they knew we were in here?” Bobby zipped into his own jumpsuit.

“The fire was supposed to be a warning, Bobby. You and me being here is gravy.”

“Maybe we don’t need to sell boats in Florida. Maybe we should talk –”

“Selling boats in Florida is a distant second to ‘maybe’ we should think about how to get out of here before we go well done. That fireline sayin’ to you ‘c’mon out y’all, let’s all have us a lemonade and a chat?’” She scanned the warehouse. Buckets of Bobby’s wrong kind of paint, pallets of Bobby’s pre-Annabelle reclamation material runs from the Katrina salvage yard. Senior Eldridge’s Swamp Vue customized tractor. Big, rusty industrial tools and conveyor runners stripped from the old machine shop that was now Swamp Vue Building A. She looked up at the sprinkler heads doing nothing, knew the Matchstick Men had shut off the water. “Mr. Preston fucking Umbridge and crew have gone from being pains in our asses to dangerous. Where’s my idea boy?”

Bobby had  been walking the warehouse while they talked, came back and yanked the canvas sailcloth off his dead in the water project car that had been rolled into this warehouse with all his other unfinished projects.

“What the hell is that?”

“Half a plan? It was a Ford GT, before Katrina. When I got it most of the aluminum was gone. I’d thought about turning it into a marketing car, like the beer companies have? Half GT on the front and over the engine in back I wanted a small, high gloss wooden pickup bed. Unless we could do the front end like a baby ’57 Fleetside maybe. You know –”

“Bobby, goddammit, brevity. Does it run?” She waited, eyed the fire climbing the back wall, sweat glistening on her forehead.

“Hell yeah it runs.”

“And the half a plan?”

“We could drive it out, or, or…”

“Bobby, it’s a NASCAR grade go kart. Walk, or drive out in that thing, front or back, they’ll pick us off.” She thought for a minute. “Start it. Point it at the front, tie the wheel down.” She could feel Bobby hesitate. “Bobby? Listen up, baby. If this works? I’ll put a four-man team on the damn thing until it’s right. Set it up, start it.” She hit him with the scare a voodoo priest eyes, walked to a pallet of acetone cans and picked up two in each hand, took them to the back wall. When she heard the GT go-kart roar to life she stacked the cans in the flames, backed away in hurry. She pulled the pistol, held it two handed, looked over her shoulder at Bobby and raised her chin.

Bobby jammed a piece of re-bar between the accelerator pedal and the seat on the GT, flipped the transmission paddle to D, Annabelle shot the bottom can of acetone. The GT screamed through the front wall at the same time the acetone cans blew a hole in the back. She grabbed Bobby, pulled him down behind a pallet of junk aluminum while front and back the pop…pop pop and brrrrappp of gun fire punched holes in the galvanized tin that turned the moonlit warehouse into a redneck planetarium.

The shooting stopped, a couple of long minutes passed, Bobby and Annabelle drenched with sweat, each watching the black holes in the warehouse. Someone out back hollered “Anybody still alive in there won’t be fer long.”

***

Leading with an AR-16 the one called Walrus stepped through the acetone hole, Bobby hit him in the face with a shovel. Annabel grabbed the gun before he hit the ground, frisked the prone Walrus and came up with two more clips.

“Jesus.” Bobby looked down at Walrus and back to Annabelle and the rifle. “You know how to use that, too, huh?”

“Afghanistan. By way of Detroit. Help me.” They hog tied Walrus in an upward arch, ankles and wrists together, stuffed a rag in his mouth when he came around enough to make noise. Annabelle handed Bobby the Glock. “You know how to use one of these?”

“Since I was six. We’d go trollin’, Daddy’d get drunk and put me on gator –”

“Bobby? Jesus, boy. Count to thirty, empty that pistol through the front. Then drag his sorry ass up there and wait for me.”

“What if they see you?”

“You have to be kidding me.” Annabelle held out her arms, assault rifle in hand. Black woman, black overalls, night.

“Right.”

Bobby counted, wiped his sweaty hands on his jumpsuit, emptied the clip through the hole his GT had made. There was a round of pop pop…pop pop pop that punched a few more holes in the front of the warehouse, a man’s voice called out for Walrus. There was another pop, louder, closer.

“Get on outta there, Bobby,” Annabelle, her voice raised. “Grab my purse on your way to the water valve.”

***

Bobby stopped his two-wheel dolly next to Annabelle’s tumped sideways wheel barrow, stood it up and Walrus, screaming behind the rag in his mouth fell on the Swamp Vue dock next to his partner.

“You put gas in the tow skiff?”

“Yes ma’am.” Bobby nodded to the far side of the dock. “That red Bandit four-seater set up for water test is a lot faster.”

“I’m not looking for speed. I think a nice, slow moonlight ride under the Spanish Moss might give these gentlemen a chance to reflect on the errors of their ways.” She looked at the two Matchstick Men, trussed up like Houdinis in a mixture of chain, rope and wire. “Besides, they’re bleeding and the skinny one vomited himself over the hole I put in his shoulder.” The burning warehouse reflected in her eyes. “And I’ll be godammed if these boys’ll ruin any more Swamp Vue inventory.”

Bobby helped her roll Walrus and Steeple unceremoniously from the dock into the green, slimy bottom of the tow skiff, both men wild eyed and squirming, still trying to holler through their gags. Bobby untied the skiff, watched Annabelle kick the Merc outboard up and disappear into the swamp.

***

Sheriff Wylie pulled up by the dock, joined the flashing light show of Terrebonne Parish emergency vehicles surrounding Swamp Vue’s back warehouse. He climbed out of his cruiser, met with a fireman who talked for a minute before he went back to his truck.

“I declare, Bobby B,” Wylie pulled his Smokey the Bear hat, wiped his forehead. “Seems ain’t no kinda shit can be got up to foreign to anywhere you’re at, boy.” He reset the hat, tweaked it. “Where’s Ms. Annabelle Mo-nay?”

“She, uh,” Bobby felt the weight of the canvas bag in his hand, heard Annabelle asking him if gators’d eat anything, how she’d heard a story about somebody cutting a gator open and finding a pocketwatch. “She took the tow skiff out. To clear her head. All the chemicals…”

“That right? Big city lady knows her way around the bayou now, does she?”

“GPS.”

“Mmm.” Wylie walked to the warehouse, frowned at the puddles under his shiny boots, wrinkled his nose at the smell of smoldering paint, burnt rubber. They both watched the firefighters rolling hose for a few. “Late start on the sprinklers, huh?”

“Valve stuck.”

“You don’t say. Head honcho Fire fella told me this mighta been arson.” He poked a stubby finger through one of the bullet holes. “Y’all got any problems I need to know about?”

“No sir.”

“The bag?”

“This? Oh, uh, just some, uh, lost and found.”

“Sure ‘nuff?” Wylie shined his high-power penlight into the bag. “Lessee now. Coupla phones. Coupla belts with big fancy buckles like them two slicks outta Florida was wearin’. The ones been hangin’ to the 76 truck stop talkin’ up the waitresses and hookers how they’re big shot Matchstick Men? Two wallets. A watch, an en-graved pocket knife,” he turned it over under the penlight, “to Walrus from LuLu. Makes you wonder about people, don’t it? A three-inch wood handled lock-back gizzard splitter. A baby Colt semi, looks like a 380. Car keys on a key ring fulla those grocery store cards. And you got nothin’ to tell me?” He shined the light on a cluster of bullet holes and moved it to Bobby’s face. “No problems? You sure?”

“Yes sir, I’m sure.” Bobby pointed to his GT, a 427 engine on a bent aluminum frame embedded in a giant old cypress. “We’re gonna fix that GT up right, put the logo on it, haul it to boat shows. And Ms. Monet thinks after tonight Swamp Vue’ll start selling more boats in Florida.”

“No doubt.” Wylie dropped the wallet he’d opened and gone through back in the bag. “Fact is I’d bet on it.” He walked back to his cruiser, tossed his hat on the passenger seat, leaned on his open door. “You be sure to give Ms. Mo-nay my regards.” He put a foot in the cruiser, stopped his descent. “Y’know, Bobby, she might give me a holler sometime, she’s of a mind. Tell her lunch is on me.”

Writerly Concerns #11

Your (used literally) Reality is Showing

Ruminations of Truth and Fiction

There are thousands of quotes about fiction. Here’s a few. Not in depth, just for the sake of this rumination.

From E.M. Forster’s Howards End – Actual life is full of false clues and sign-posts that lead nowhere.  Taken out of context it still works. The point in the discussion this comes from is that life is unmanageable. That morality and preparedness are useless. A point that makes fiction, as explained to me by an editor one time as “the place where we can cut the shaggy dog elliptical dialogue and other messes of reality.” Where we can introduce enough humanity and emotion to make a direct point, have direct impact, take direct action. Unlike the standing in a canoe feeling real life often offers.

Truth is Stranger than Fiction – I will send you here for the story on that quote. Again, the consensus is that Fiction is bound by rules and imagination and is thereby constrained. Truth is not bound by anything.

David Foster Wallace’s take, that I will have to paraphrase because I can’t find it right now, is Fiction and Truth are not so dissimilar. I’m not sure if that was was a reference to the “realism” school of fiction writing, or the fact that if you look around the world is full of stream of consciousness weirdness. And if you look at it that way, Truth and Fiction are the same thing. One person’s unthinkable Truths are someone else’s Fictions. Further on that –

Consider Thoreau’s Walden – The mass of men lead lives of quiet desperation. A friend said to me recently, “We all live the same lives in different houses.” The Grand Illusion. Maybe the details change. But to me, like Fiction, Truth is limited by perception. We cannot conceive of an unknown Truth, therefore acknowledge it, if it is beyond our comprehension. Something so bizarre could happen, something we never saw coming, to make Truth all the more strange. But until it happens we are back to square one. Morality and all the other tactile preparedness routines, all the ways we can arm ourselves against unmanageable Truth are futile because all we understand of Truth is what we know. And it’s the unknown that blindsides us. And in Truth? We are never bitten on the ass by anything unheard of, merely mosquitos (metaphorically) that slipped in the back door when we let the dog out to pee.

Why all of this? Truth or Fiction, the Lie that Tells a Truth, the Truth that Tells a Lie? Lying in the face of truth? There’s a big one. It could be a live talking heads news show or a Fifties J.D. MacDonald novel or staggeringly deep Noir-ish psychodrama about losers and lives of lies and deceit or it could be in the kitchen. Well, the why of all of this is that I agree with Wallace. Because I have seen enough and heard enough and lived enough “Fiction” venues playing out as someone’s Truth in the last couple of years to last me the rest of my lifetime.

On top of that the question has been asked “What happened to Happy Endings?” (No, not a Travolta massage). I don’t know.

Even worse, as a proponent of bringing back the Happy Ending I discover they are, indeed, fantasy beyond my grasp to compose. I can’t get there from here. Once I got the characters dirty I didn’t/don’t have an answer for them. Forgiveness? Understanding? Even ignorance. Once the sheen is gone, it’s gone, and I haven’t found the magic bottle of As Seen on TV Happy Ending renewal, complete with microfiber polish cloth, that will help.

The answer, for the record, and this might sound facetious to what happened to the Happy Ending is that a lot of people literate enough to write, even awkwardly, are too old or smarter than I am and have known better all along.

Baggage is baggage. Truth, once it invades Fiction, becomes the incomprehensible, the hurdle no one can jump, the leap of faith no one can take, the suspension of belief or disbelief no one can quite buy into. Because Truth sucks. Escaping it is impossible. That’s what it has over Fiction. If you let your Fiction get away from you with dirty Truths, or your truths with dirty Fiction that MacDonald can’t set straight with at least one or maybe two well placed problem-solving murders, then we’re back to the Seventies where the bad guys win every once in a while. Or more often than not.

Truth, or Fiction? Keep them separate. Once cross contaminated a lot of work gets sent rolling down the drain. Along with a lot of belief systems we are unarmed against and ill prepared to manage. Don’t let dirty Truth ruin your Fiction.

Writerly Concerns #10 – Content Forward

Style, Substance, and The Wisdom of Nacogdoches

I returned from a week off to discover discussions of style. On the heels of several discussions about marketing and design and what amounts to curb appeal. As well as a debate with myself about the futility of why bother furthering this adventure because of my opinions (and choices) in regard to those subjects are often unpopular. But writing, or any creative adventure, (I’m a synthesist for God’s sake) is not about being popular, or conventional, it’s about discovery. You wouldn’t know that by all the discussions of mechanics.

I also discovered the internet is not the medium for writing anything of significance, either to an audience or ones self. He said, petulantly. Or, He said, nose thrust up theatrically in the universal pose of snobbery. Or the style choice of “point made, no attribution.” Or delete past “thrust up.” Choices. Everywhere. How we say what we say and what we don’t.

I read a lot of authors. Rarely entire books. Like listening to a song for the production values, not the song. I read some earlier P.D. James, before she became a franchise. Only two chapters for “style”. I learned two things. I had to read several pages of dialogue before I found any tags. Yay! I learned how to (my opinion) overwrite staging a scene. Something she was famous for, creating atmosphere. Down to how many dirty Kleenex were on the overly described flaws in the kitchen table. She would fail miserably doing that on a short attention span blog post.

I read J.D. Macdonald. I noticed he repeated a word, often in the same sentence, often in the same paragraph. Today Grammarly or an editor would say “You used (word X) three lines ago, third time on this page. Don’t you own a Thesaurus?” He evoked the same sense of place as James, in far fewer words. Less detail, no Kleenex, but as a reader you were right there. Do we need descriptions of filth or clutter? I don’t know. Fast food bags and a week’s worth of dishes in the sink does it for me. I do know he nailed Latin dance music of the 50s without a single bit of musical or musician vernacular, as well as the two people dancing to it, the night, the room, all of it in about as many words as I’m using here. BAM. Otherwise, his characters and their perceptions of each other vs who they were to themselves and their relationships was almost overwritten. No points off though, he was using all of them to beat the various forms personal condemnation might take while backstorying a murder. The murder of consequence only as a vehicle for all the character study.

I read David Foster Wallace. Okay, that’s literature. This piece was like Vonnegut,  skating with one foot on either side of the absurd as if it were perfectly real. But that’s life, really. There are times that Wallace is excruciatingly detailed and hilarious at the same time. Like British comedy. Push the timing limit envelope as far as it will go. He is also invisibly poignant to the point of pulling your heart out. He has the angst of MacDonald lost in society, the atmosphere of James, internal and external. As an added benefit, you never see his education except when he flogs the entire academic/pop culture/publishing industries and tells a ridiculous story embedded in black comedy social commentary. If you find the opportunity to read “Westward the Course of Empire Takes Its Way”, do it. (It is not a discussion of the painting from 1861 by the same name.)

Did I mention I was out of town? Spent a day and a half in Mendocino, California. If you watched tv in the Eighties it was really Cabot Cove, Maine. Hometown to Jessica Fletcher of Murder She Wrote. In P.D. James’ Devices and Desires her forward is a location disclaimer. Between two points in the real world she created a false, detailed location for her story. Wallace as well has us in a place so real yet unreal. MacDonald sets a fictitious house on a real lake. His characters occupy pretend places in real places. I think we should all do that, save for historical (yawn) novels. Build a sense of place out of a place. Nobody needs a Hollywood or Bermuda travelogue. As deep as P.D. James, as deceptive as Murder She Wrote, as un-real real as Wallace or MacDonald (or pick a big leaguer).

Got off topic there – What they all have in common (save Wallace) isn’t geographic misdirection, or the depth or lack of “atmosphere,” but the parade through character flaws of possible suspects. I discovered further down the road the following day that Raymond Burr’s winery had been sold. Perry Mason was another one of those parades.

It’s all style. Same formula. Flesh it out or pull it in. Deep content or cardboard.

Wallace alone writes stream of consciousness without “arc” or “formula.” Here they are, three strangers, not very sympathetic going through a hell of a boring day. On the surface. The good guys and the bad guys and the fairy godmothers aren’t wearing black or white hats or long tulle skirts and waving wands. They’re ad executives and rent a car counter agents and wife stealers and all kinds of people who can wreck your mind and your life if you let them, just like all the characters in all the other books. Only without being wrapped around a murder or an event. They just are. Like us. (Absurd) or touching Stories of People. Steinbeck does that on occasion as well.

I have seen Hemingway and Steinbeck and London bandied around as style models. All very different. A good deal of a Hemingway isn’t on the page. Steinbeck once said that Of Mice and Men was a way bigger story than a hack like him could write. (!) Clue – All the authors you remember force you into being with their characters. You go OMG, or WTF. Even if you don’t particularly like them, or they aren’t all that sympathetic, maybe they’re even jerks. But we follow them because –

There are no tricks. Since ancient times the Canons of Rhetoric will give you a work. Add Aristotle’s three major styles to work the scenes and draw your audience in. Work your characters and readers emotions up and down with language appropriate to what you want them to feel. No magic, no equations, no “style” copy. Say what needs to be said to put you and the reader and your characters in your scene, and delete everything else.

I think of style in terms of music. Music happens in the spaces between the notes. The story is told in the rhythm and pacing of those spaces. What’s not there is the reader’s, or listeners. And that’s why they’ve opted in. Not for our wonderous prose or flashy hemi-demi-semi quavers, but what we offer their imaginations with a story or piece of music.

My point – I think maybe we should be more concerned with how we sculpt our content than tricks and equations and curb appeal. There I am with those damn opinions. I will leave you with a true story from the music biz, names and all, as a parable.

Willie Nelson cut an album called Nacogdoches. In, of all places, Nacogdoches. At a studio in that same town owned by a friend and client of mine, Dana Woods. There’s a much longer story about that studio for some other time. Onward. Willie went to East Texas to cut a handful of standards with some old guys he’d known forever. Songs like “Stardust” and “How High the Moon”. Classics. Dana invited me for rough mixes night. The small control room is reasonably crowded, lights flash, the Mac screen scrolls. Willie is off to the side leaning elbows down on a rack cabinet, listening. First tune rolls by. Everyone nods, maybe a low-key muso only insider comment floats by. Dana’s intern ostentatiously effused, “Wow. That was a great cut.” Tunes and scene repeat, as do intern’s enthusiastic variations on “That was a great track.” After about five or six “Man, that was a great track” opines, Willie looks up, still in his rack lean, drawls in that unmistakeable nasally twang –

“Y’know, it’s hard to cut a bad standard.”

Random NVDT – Writer(ly) Concerns #9 – “Pinkly”

“The rain was washing the blood pinkly away.” *

Oh. My. God. Really?

I was going to pop the first THG III chapter. Then I was going to say no, wait up, here’s a backstory chapter so it’s not like instant melodrama. Then I was going to finish the Mescaline Blue short, but it got such resounding reviews I bailed. Besides, the last bit sits at 2.35k and needs to be 1.4k. I can’t seem to cut and paste and shuffle and get the story told so screw it, he said, virtually yet still resolutely  tossing it underhandedly at the Rubbermaid trash bucket that sat dustily and blackly in it’s shadowly corner where it bounced, ricochetly off the swinging top, to roll languidly across the floor disrupting the cat sleepily napping. Napping sleepily Nappily sleeping?

Good. God. I really was going to do all those things until I was thrown mightily to the floor, incapacitated by the headline sentence, to lie numbly, stupidly still.

I have a theory. A lot of authors, particularly the franchise-able ones, have research assistants and staff and as they get on down the road the Franklin W. Dixon / Carolyn Keene effect kicks in. In fact the Spenser series originated by Robert B Parker is in Taco Bell land now with someone I suppose apprenticed/interned/researched with/for Parker when Parker was among the living. I noticed the same thing in the last few Tony Hillerman’s (that sucked, personal opinion) and the last few Elmore Leonard’s that were re-runs. Well, a deep study will show all those formula western/cop/detective things to be recharacterized re-runs, but that’s what we do, invent characters to plug into a stroy.

I think successful authors know how low the candle is getting, and hand off more and more of their duties. Because there is no excuse, outside of medication or getting confused about which series he was writing that Parker, the man who picked up the torch and finished a Raymond Chandler book, to write, on the coldest day in hell, the word “pinkly.” Or “wetly” for that matter. Or for someone who prided himself on his literary background use the word “languid” and the LY variation of it repeatedly. To describe dust motes, dog walkers, lawn sprinklers and the approach of a woman. And that’s the first half.

“Pinkly” is also one of those things wrong with the major publishing houses. Like tires and mac and cheese, it’s branding, not content. First off, no one caught it. No one at a giant publishing house raised an eyebrow at “pinkly.” I promise you if I played “pinkly” in a scrabble game I’d get hammered.

The last several Ace Atkins as Robert Parker outings are laughable for their lack of editing and proof reading. I wouldn’t let some of that junk out as a docx file to anybody. I know they must be selling on the label, based on the reviews of people waiting for the real Spenser to come back. Somebody better summon Edgar Cayce, quick.

Stupid, boring chattery content? I’ll own that, and have a hard drive full of it. Sloppy and lazy execution of same? No way. Even if it’s chit chat pablum, it needs to be well constructed chit chat pablum.

What has any of that got to do with anything? I’m pretty sure, and concerned, that the events and (mis)adventures of Jackson in Hollywood and Deanna in Cambridge in THG III are rough and drafty and will be received as such. And maybe I’m hedging a little about vomiting draft quality work. However, after reading the lazy slop that has been published by award winning authors and their award winning franchisees, after “pinkly”? Get the mop and bucket.

*School Days © 2005 by Robert B Parker

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

Random NVDT – Writerly Concerns 4

Pardon me, your writer is showing

Here it Comes – Show Don’t Tell – My Take – For the most part a society that Googles everything from forgotten salad dressing ratios to what does guacamole taste like hasn’t got a clue. I looked it up for us. The takeaway?

“Show, don’t tell” should not be applied to all incidents in a story.

Why not? Because it would take forever to write. Or read. There are successful writers out there who ignore this and write and write and write. And others attributed to the same style write very little. Here we are again with a RULE that means nothing. Dial it up, dial it down, ignore it altogether. Properly applied I believe, as I do about dialogue, it all has to do with rhythm and pacing. Musicality.

The first of two approaches to “show don’t tell” involve using flowery, evocative language. Exercise: Put the reader in the stinky bathroom of a desert gas station. No, just kidding. To what end? To prove you can write about rust stains and dried turds and warped mirrors and peeling paint on cinder blocks and decades of dried urine in the grout for two and a half pages? Maybe, if it was a guy who got beat up by mobsters and left for dead in the desert and you want to put the reader’s face on that floor with him when he crawls in out of the sand. But to me that’s writing to prove you can.

The other approach is drop a few nuggets, let the reader fill in the blanks. Truth – You know we don’t see in color with our peripheral vision. Our brains fill it in for us based on context. That’s the iceberg concept. Hemingway, etc. So if I say to you “a porch twenty feet from the bayou on a humid summer night,” I might offer “pungent” and a mosquito swat that yielded blood and maybe a sweaty bandanna wipe but the rest of it is on you. Because there’s a story being told on that porch and all that flowery sense of place crap is background and there’s no reason to waste a John Williams theme on crickets and frogs and foley work. Personal opinion only. Unless of course you write like David Foster Wallace and then, by all means, watercolor it all together and knock it out of the park for us.

Narrative – Narrative is great to get from impact scene to impact scene, as above. Personally I shorten narrative to it’s extreme cutoff point. Example: Deanna stepped through the steam and the mist, boarded the train more homesick than she ever imagined possible. Done. She gets off the train and the story continues. Narrative is a great device to get some story told from point A to point B and is necessary to kick the story along without the minutia of Deanna brushing her teeth that morning and giving five pages of flashback about why she’s homesick. A decent author would have put us in her shoes chapters ago. Which brings me to –

Narrative excess – An equally wordy writerly option to show, don’t tell excess and a way to show off your research and waste a LOT of time that isn’t show, don’t tell. Unless you want to write about the texture of deciduous tree bark, like the restroom floor example above. Example: I have been reading this damn book that is both a good story and well written and a humongous PIA. I mean the main character gets up off the bed in a motel room from a conversation with a girl (not a sex scene, just dialogue furthering the story ) to go splash water on his face. We are treated to two and half pages of dense, blocks of text backstory. Which could have been easily condensed to a paragraph, or had it been me, three lines. It would have made a great ‘insert backstory video clip here’ in a movie. Maybe. And the whole damn book would have been at least 30% shorter had it been written in a linear time line. The flashbacks and backstory are worse than any Noir film. Like Timothy Leary moments. Exercise: Person sees reflection in sugar dispenser top. Now, jump out of mid dialogue getting the story told into deep reflective space for 600-800 words and then jump back into the convo with other person saying “Are you OK?” “Yeah, just thinking.” Just thinking my ass. Maybe the thought flew by but just reading it my coffee got cold and I’m still in a red vinyl booth in a diner no further along than I was three pages ago.

I don’t call the rules into question or try to sell them or even justify how to avoid them. All I want is for everyone to see that style is everything, and to write like we mean it. Regardless of what it is or where you find your voice. Tell your story. To the best of your ability. Every time. Turn it up. Or turn it off.  Remember, when your fluffy fill up space writer is showing…

And neither should we. Get to the red ‘Vette of your story. Leave the Volvo in the dust.