Never Land

Tell me where dreams go to die
Make mysticism into physics
Do it for me now
Life has taught me well
Wishes hit the shitter
As time ill-spent hanging out
With the Second Guess triplets
Woulda Shoulda Coulda
But tell me, where do dreams go when they die

Hope hangs from an altar
Surrounded by prayers for understanding
Broken promises
Broken lives
Broken anything, broken everything
Dreams haven’t got a prayer there
Is the hell of never understanding never
Where dreams go when they die

Why is ‘never’ so infinitely finite
How did love become
Too small a word
What happens to dreams
When they die
Are they washed away
In tears that we cry
Stashed away
In words used to deny
The real Elephants in the room
What happens to dreams when they die

When I was young
A barber showed me
Static electricity
Made my hair stand on end
He made the static disappear
From a comb
With running water
Where did it go?
Down the drain?
Up the spout?
Out by Jupiter?
Energy is never gone, he said
So if that’s true, tell me
Where do dreams go when they die

 

 

RANDOM NVDT – Writerly Concerns #22

Authenticity –

“You’re telling me nobody in Washington DC has a piano you can rent?”

“No.”

“Not Washington Music or Venneman or the Steinway Hall or any of the back-line places? Jesus, you’d think there’d be a shit load of pianos in DC. All the parties and weddings and receptions, hotels.”

“No, man. I’ve called them all and nobody has a grand piano I can rent. That’s why Rick told me to call you. He said you could hook me up.”

“Rick?”

“Wakeman. He’s coming in to play a classical music concert. A live broadcast, and he needs a good piano.”

Right. Rick’s a real comedian. Here we go. “I can get you a ProMega3, from Chicago, with Rick’s programs blown into it. Have it there in three days.”

“What? A Pro…What?”

“A Generalmusic ProMega3. It’s a physically modelled digi –”

“A digital piano? No way, I can’t have that. Those sound like shit, everyone will know, Rick will hate it.”

“Rick won’t hate it, that’s why he told you to call me. It’s not a sampled piano. Yeah, those all sound like audio Polaroids. But this is a real-time physically modelled instrument, sympathetic resonance figured on the fly like a real piano, all the math done by the physics department at the University of Padua. Padua being where the piano forte was invented.”

“It’s still a digital piano, no matter how good it is. It isn’t an authentic piano. I have $5,000 microphones set up in here for a real –”

“Riddle me this. You put five of those microphones on the piano. Run them through the board –”

“A digital console with high end Prism ADA converters. Those things are –”

“Ten grand a pop. Great. What do you have at the end of that signal chain?”

“What do mean, what do I have?”

“You have a digital piano. Just like the one I’m offering you. Five high end mics, data conversion to harmonic and volume modelled envelopes, real time resonance. The sound board and wooden case is done with math, not samples. It’s as authentic as your mics and digi board. If anyone notices or complains, I’ll eat it.”

“Well, hell, we’re out of time now, I don’t have any choice. And Rick said…Shit…Are you sure you don’t have a real piano?”

“Positive, but I’ll send you a ProMega3. Tell Rick everybody loves a clown and to poke around the first bank, Herbie Hancock’s fave Fazioli tweak is in there. Sound check for Artist Not Present in Rick’s case is number 2, RW Stein. Any problems, call me.”

A week later I make the call. “Anybody complain about Rick’s piano?”

“No. Did you hear the show?”

“Sure,” I lied. “He’s crazy funny and can play his ass off.”

“Yeah. So, uh, look, how can we get two of those ProMega things for the studio?”

***

All you have to do is make me, or any reader, believe it. I have a WIP set in LA in the early 80s. I wasn’t there, I was in NorCal. I have friends who were. What is needed is “A studio in Silverlake.” It works because there were a lot of them. A high-rise ocean-front condo in Santa Monica. Yeah, duh. A funky old 8 plex apartment in Long Beach. L.A. is the global center of funky small apartments that could have been shotgun houses, old motels, two story office buildings. They’re in every TV show ever shot in L.A. from Dragnet to Transparent. I read Laura Levine’s fluffy mysteries, her heroine lives in an apartment in West Hollywood. Some colorful neighbors, funky houses. Traffic sucks on the 5, the 1, the Harbor Freeway, Santa Monica Blvd. Of course it does. Who am I to quibble? Fancy restaurants on the beach, Mexican places with huge burritos, everybody accepts that. More importantly, it’s enough. Robert Parker used to beat me with Boston, but not too hard. Tony Hillerman could put me in an old beat up Suburban in the New Mexico desert with few words and a few mountains. Elmore Leonard, Get Shorty in L.A. Are there any map coordinates?  No. Descriptions of big houses and restaurants and grubby offices. Raymond Chandler’s Farewell My Lovely. A dumpy house, a grimy bar, a nut-case estate. For me? In and Out Burger on Beverly. A vegetarian walkup in the parking lot of a strip center, or off the 1 in Malibu. Pre-War apartment courts on the bay in Huntington. They’re there. Why not? Authentic is the story, on a believable set.

Authenticity, then, does not require 200 pages of Irvine Welsh’s phonetic Scotts, or an accurate down to the nails in the shutters description of a side street in the Bahamas or a page and a half of verdant pastures or a horticulturalist’s coffee table book version of Louisiana garden and potted plant life. Or $20k worth of mics and preamps. Authenticity is a few locations, a few props, carried by the story. All the set decoration in the world isn’t the story. If the story works, it could be next door or a far-off land. Make me believe the characters and their stories without gumming up getting them around and putting them somewhere. Authenticity is the story. 

***

Authenticity – When asked about Jeff Beck’s guitar rig his tech answered with all the right techy stuff. He finished by saying “But he could play an old Masonite Silvertone through a Pignose and he’s still gonna sound like Jeff Beck.”

More Authenticity – Rick’s version for an Australian magazine. Zoom to read.

 

 

 

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?

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.

 

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.

 

RANDOM NVDT – Writerly Concerns #18 – Rules

The only rules to remember are the ones that will get you or someone else killed or maimed if you ignore them.

The rest?

I am one of the worst when it comes to “use trumps rules” if it passes the no death or destruction test. Example 1 –

What is wrong with the old Roland Groovebox to the left? I got it stupid cheap a few years ago simply to see if I could resurrect it. I did. I fixed the display, gave it a bath and set it in the closet. Enter curious four-year-old grandson who knocks it over on its face. After that the volume knob no longer worked.  The short version is that I hardwired the output. Wide open. As if the knob were never there. This box will do what it does without constraint. Who needs a volume knob? The knob is only there to keep the user under control. Like computers on supercars. Not there for the car, but the driver.

Example 2 –

Y-Cables. The input of this reverb device is listening to the FX send from 2 mixers, one of them a sub for a stand full of analog gear. I can hear the hue and cry among audio purists. Resistance! Capacitance! Noise! Bullshit. That reverb doesn’t care, the voltage isn’t going to back up from one cable to the other and cause a blackout over half of Dallas. I wouldn’t do that with real current, but for line level audio? Please. Does it work? Yes. Will it blow up? No. Does it sound good? Some things are difficult to quantify. Like diapers for grown ups – Depends.

***

My point? Summed up by Elmore Leonard in his Ten Rules for Writing

“I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative.” By golly, we can learn to finesse without the false sense of ceiling rules and volume knobs imply.

“It’s my attempt to remain invisible, not distract the reader from the story with obvious writing.” By golly again. If a Y cable puts the cast in the same universe, use it. No matter what anybody says.

“(Joseph Conrad said something about words getting in the way of what you want to say.) If I write in scenes and always from the point of view of a particular character, the one whose view best brings the scene to life, I’m able to concentrate on the voices of the characters telling you who they are and how they feel about what they see and what’s going on, and I’m nowhere in sight.”

That right there is a “rule” I can live with. And why I try to stay out of character’s heads and let them walk and talk. Because in truth all we will ever know of anyone is what they show and tell us. All that psychobabble digging around in characters heads is simply writers playing God. Writers who can’t, or won’t, relinquish control and let their characters speak and do for themselves.