Day 32: Endorphin rush

When you win a game in a chess tournament – when you’ve been sitting across the board from a stranger whom you’ve been mentally engaged with for three or four hours, when the two of you have combined to dance the pieces around until one of you has found a solution, when the clock is ticking down and the penmanship on your scoresheet is devolving – you feel fab. You are on top of the world. Your brain triumphed.

When you write something that feels right – when you’ve been staring at an empty screen or a sheet of paper for so long that you’re close to snow-blind, or when you realize you haven’t been writing, you’ve been typing, and this is the first sentence that’s not only worth saving, it’s worth sharing – it’s a similar feeling. Your writing is not a pas de deux as in chess, but you’ve still triumphed.

I’ve been looking for a while for a knockout opening line for my book. I was thousands of words away from the opening when a candidate broke the surface somewhere in the back of my head. I tried it out. It works. And I can see the influence from one of my literary idols. My brain triumphed.

That’s all I wanted to report tonight. I wrote some sentences today. I hit one of them over the fence.

Special offers

Check out these opportunities to do some good in the hood in the Clarion West Write-a-thon (#writeathon).

Can’t let you go without a chess quote

From the fourth world chess champion, Alexander Alekhine (pronounced “Al-yekken”):

I would like to be able to create alone without the necessity, as in games, of adjusting my plans to those of an opponent, in order to create something that will last. Oh! This opponent, this collaborator against his will, whose notion of Beauty always differs from yours and whose means (strength, imagination, technique) are often too limited to help you effectively! What torment, to have your thinking and your fantasy tied down by another person!

In writing, we are all on our own. Thank God.

Day 30: Where am I going and why am I in this basket?

On July 18, 1877, Thomas Hardy entered the stadium in Dorchester, Dorset, England, to begin work on his sixth novel, The Return of the Native. The crowd applauded as the confident young novelist marched onto the pitch and settled himself at his desk, then went quiet as he dipped his pen in his inkwell.

But Hardy began by drawing a doodle, which, after some consideration, he signed. After he finally wrote a word (“The”), he crossed it out, gazed into space, then signed his name again. “It’s Tess of the D’Urbervilles all over again,” the play-by-play man lamented, until Hardy, seized by inspiration, rewrote “The,” changed it to “A,” and then galloped off toward his first verb. The crowd was on its feet as he finished the sentence, and after only three hours of writing.

This may be meaningless scribbles from Monty Python, but in some ways it describes my writing process. “A writer is a person for whom writing is more difficult than it is for other people,” noted Thomas Mann, a man who had no trouble writing. Most of his books are thick enough to brain a horse. But I take his point.

When I sit down to write, I am dazzled, sometimes blinded, by all the possibilities. A story can go anywhere. I want to get the words down, write a draft that leaks and patch it later when the adrenaline has subsided, but I also want to write well. “All you have to do is write one true sentence,” Hemingway used to say to himself early on, in Paris. “Write the truest sentence that you know.”

Thomas Hardy and Ernest Hemingway might have been less distractible than me. I’m very distractible – not by television or the internet, not by dinosaurs or cheerleaders, but by my own thoughts. In yesterday’s session, as I was warming up, a sentence came to me for a new story. A week before, while carpooling to work, I had told my co-worker about an incident in an office from long before computers made it impossible for anyone to hide anything. I guess that that memory, which had been dozing for years, woke up and began to sprout, because suddenly I was off and writing fluently, easily, and 90 minutes later I had a 2,000-word story with a beginning, a middle, and an end. Another 1,500 words and one more character and it’s done.

This story has no relationship with my novel.

Is this procrastination? If it were, I’d still be doodling – spaceships, probably – and signing my name. One of my teachers once told our class her “red dress theory” of writing: She didn’t write her ideas down. Whatever idea was still in her head, still shining, when she started writing was the one she went with. When the red dress appears, wear it. I’m not sure what my red-dress equivalent would be. An Alpha Romeo? More like an album by King Crimson.

Writing is fun, and though my novel is starting to move I loved this sprint into the unexpected.

Clarion West box score

While the Clarion West class of 2019 slaves away in Week 4 in Seattle, 166 people (from Australia, Brazil, Canada, Croatia, Cyprus, France, India, Malaysia, Spain, Taiwan, the U.K, and the U.S.) are scribbling away in the Clarion West Write-a-thon (#writeathon). Two of those people are Mary Wollstonecraft Shelley and Jules Verne.

Dead or alive, Verne is never going to improve.

The Write-a-thon has brought in $10,727 to help keep Clarion West going. My sponsors (all three of ’em) are doing their part: Karen G. Anderson, Kate Schaefer, and Jerry Kaufman. Bless you!

Day 25: A good heroine beats a good hero every day

Weeks ago, I took a vow before the head of my order to spend my summer participating in the Clarion West Write-a-thon (#writeathon), blogging about it, dieting, punching the clock on my last job, and coping with sick family and arthritic bureaucracies. I didn’t foresee that the one thing I’d be least likely to do would be blogging. I thought for sure it would be dieting.

The older you get, the more bureaucracies you get

Are you frightened of a future full of sick old people? Grow up, you big baby! They’re your responsibility. However, if you act early, you can decrease the number of people by following this tip from the professionals: Marry an orphan.

Set the controls for the heart of 1966

In that year, Roland, my favorite English teacher, attended a writing conference at Georgetown University. Decades later, he gave me his notes. “I have no further use for them,” he wrote in his elegant, slanted penmanship. I want to share some of what I’ve found on these faded steno pad sheets.

Remember James T. Farrell? No? He was a rock star of the Depression!

The opening address was given by the novelist James T. Farrell, author of the Studs Lonigan trilogy. Studs holds the 29th spot on the Modern Library’s list of the 100 best novels of the 20th century. I’ve never read Farrell, but I have read that Normal Mailer was inspired to write after reading the Studs Lonigan books, which makes me want to not read James T. Farrell.

Judging by Roland’s notes, Farrell gave a remarkable speech that encompassed social commentary and the nuts and bolts of writing. He said that much of our sense of the world comes from the movies, not conversation or direct experience. He divided the world into two kinds of people, the glamorous and those who admire the glamorous. He decried the manipulation of art and its takeover and cheapening by business – exactly what Ursula K. LeGuin was talking about when she attacked Amazon at the National Book Awards in 2014. “Man must strive to attain the full stature of his humanity,” Farrell admonished the crowd, quoting Robespierre.

If so far this sounds like a writing conference today, you’re right, but there were things that went down in 1966 that wouldn’t go down at any conference today. For example, the language all of the writers used, male and female, and that Roland wrote his notes in, was male.

Farrell, paraphrased by Roland:

In terms of public, all that is important in a writer is his mind and heart as it is put on paper. He should not be made a public spectacle.

Unless a writer retires to solitude he will not find himself. He must master solitude. He must accept that as part of his destiny.

From R.A. Knowlton, a well-known editor and writing teacher of that era:

The successful fiction writer must be an untrustworthy fellow who can tell a good lie and get away with it.

As far as I can tell from googling the names Roland jotted down, there were no writers of color present and almost no recognition of what today we’d call marginalized populations. I found two exceptions:

  1. James Baldwin was included in a mention of the hot new writers, along with Saul Bellow, Isak Dinesen, Bernard Malamud, Philip Roth, and John Updike.
  2. The Brazilian writer Joaquim Maria Machado de Assis was praised for Epitaph of a Small Winner, an 1881 novel that must have just been translated into English.

“Women’s magazines want emotion. Mass circulation mags want action!”

The particulars of writing for magazines in 1966 were fascinating to me. Writing for magazines is what I’ve been trying to do for most of my life.

R.A. Knowlton did not have a high opinion of what he called the mass circulation, slick paper magazine. Fiction in these magazines isn’t supposed to mirror reality, he said; it’s an escape. “Truth,” says Mr. K, “makes very poor fiction.” He said that magazine fiction doesn’t carry much prestige (“Amateurs get all the applause”) because readers still want “the old virtues and illusions in their fiction.” This is why writers should never use divorce and divorcees in slick fiction. “Your main character must want something, but not anything illegal or immoral.”

(Attendees were advised of various taboos: no curse words in Boy’s Life, no teenage drinking in National Future Farmer. Was it OK to switch?)

However, Knowlton noted that contemporary (as in 1966) editors “want more force and emotionally contentious stories.” “Cream puffs,” he predicted, “are on their way out.” How I wish I knew what he meant by cream puffs. Is that what I’ve been writing?

And we’re back to the old people

At one of the panel discussions Roland attended, he was told that your main characters must be “reasonably” young – certainly not over 40. “Older readers can remember what it’s like to be young but young readers can’t imagine what it’s like to be old.” This reminds me that it was Thomas Wolfe, of all people, a man who wrote millions of words without ever understanding the female half of the human race, who figured out why we rarely get heroes in their 70s and beyond: No one lives long enough to understand how to write them.

Other nuggets for the aspiring magazine writer:

  • “A good heroine beats a good hero every day.”
  • “Stick to your own sex, also to one viewpoint.”
  • “Frankness seems to be most desired in non-fiction…the trend is to things that where formerly said only in the confessional or a doctor’s office.”
  • “Women’s magazines want emotion. Mass circulation mags want action!”

The most compelling remark in the pages Roland sent: “The only sort of story you can write is one from yourself.” Amen.

Cashed out

In 1966, the best-paying fiction markets in the U.S. were McCall’s, Good Housekeeping, Redbook, and Cosmopolitan. The New Yorker could not have been far behind.

McCall’s, a zine with a bank vault straight out of Richie Rich’s basement, offered $3,000-$4,000 per short story. According to my inflation calculator, $4,000 in 1966 would be $31,000 in 2019. Now you know how the Johns – Updike, Cheever, O’Hara – made a solid middle-class living writing short fiction in the 1950s and ’60s.

You can bet your ass and six of your goats that no one writing science fiction, mysteries, or westerns made this kind of money in those kinds of genres. In one year in the ’50s, Philip K. Dick earned $1,500 from the sale of about a dozen stories. He mentioned it because it was a superlative year. At least he could say that the only sort of story he wrote was from himself.

On to Day 26 of the Write-a-thon

So we beat on, keyboards against the current, borne back ceaselessly into the past.

Day 17: You only fail if you stop writing

Tonight I turn to one of the finest philosophical minds to have emerged from postwar North America: William Shatner.

“Regret is the worst human emotion. If you took another road, you might have fallen off a cliff. I’m content.”

It would be easy for me to succumb to regret. How did I lose all this time? Why has it taken me 200 years to get this far into my novel, only to find myself at the bottom of a metaphorical mineshaft? A situation so desperate that the only way for me to bust out was to join the Clarion West Write-a-thon (#writeathon) and go on a diet?

These questions are impossible to answer, and anyway, according to Shatner regret is useless. He’s spent enough time in alternate universes to know.

All you can do is seize the day, as I did today, but one sentence at a time rather than trying to do everything in the world by 9 o’clock. I picked a goal of writing one scene and then I wrote the scene. I wrote a few paragraphs after that, too. I’m a big tipper.

This may not sound like much, but John McPhee claimed he rarely wrote more than 500 words a day, and he’s done fairly well for himself with his Pulitzer and his National Book Awards and everyone bowing down to him and showering him with swag bags and stuff.

“People say to me, ‘Oh, you’re so prolific.’ God, it doesn’t feel like it – nothing like it. But you know, you put an ounce in a bucket each day, you get a quart.”

How to write lots and lots or pretend that you do

McPhee once tried tying himself to a chair to force himself to write more. This scheme failed, probably because he became annoyed and untied himself. In 2019, it’s more important to disable the internet. Also, stashing a dog under your desk can backfire. As the dog sinks deeper into sleep, it will emit sleepion particles. Humans cannot withstand sleepion particles. There are other hazards as well. This is why I like coffee shops.

The title of this post is from Ray Bradbury, a man who knew something about putting one word after another.

Tomorrow: More sentences, more scenes, more seaweed and carrot sticks on my stupid diet.

Day 16: I am suspending my presidential campaign

My fellow Americans. After much soul-searching, I have decided that running for president is not where my skills are most needed in these perilous times. I must also acknowledge that my polling and fundraising numbers are not competitive with such candidates as Kamala Harris, Elizabeth Warren, Joe Biden, and Bernie Sanders. I probably don’t have time to catch up.

The hyper-competitive state of politics in 2019 was also a factor in this decision. Thirty years ago, I didn’t need a platform. As a white male, all I needed was a good suit. Today, I am expected to have “positions.” I am expected to defend them. The public is fickle, and no one gives a rat’s ass that I am against single-player chess.

My campaign, though over, was not without its indelible moments. Partnering with Amy Klobuchar on Dancing with the Stars. Riding along with Jay Inslee as he busted ivory merchants, especially Ismail Merchant and James Ivory. The night I got Cory Booker so stoned, he thought he was John Hickenlooper. Mud-wrestling with Bill de Blasio.

I’ll miss you guys and all those late nights on the team bus, looking for soul food and a place to eat. Kirsten, you can keep my J. Crew sweater.

I hereby pledge all of my delegates to Elizabeth Warren. And I pledge all of the time I am not going to spend running for president to the Clarion West Write-a-thon (#writeathon).

Day 12: House party

After a day and a half of cleaning, moving furniture, yard work, and dodging a puzzled dog, my family arrived and the whirlwind began. I was perhaps a touch optimistic in assuming I could be a good host to my dear sister while disappearing every day to participate in the Clarion West Write-a-thon (#writeathon). Plus dieting.

But after much shuffling and some hard choices, I not only ate three slices of pizza, I settled the names of my characters. I finally understand them and their relationship to each other. They’ve been waiting for me: an insignificant fellow, someone I needed for one paragraph to do one thing, suddenly has a recurring role. He fits.

Now comes the easy part: the writing. As the psychiatrist Dr. Spielvogel said in the punchline to Portnoy’s Complaint, “So. Now vee may perhaps to begin. Yes?”

Day 9: Today I felt the baby kick

Today was the first day of the last year of my working life. It was a good day. I woke at 6 a.m. Lucky and I were at the park with the other dogs and their sleep-deprived owners at 6:30. Little do those workin’ stiffs know that a year from now I won’t be standing around with them while our dogs chomp and sniff each other and that coming up is the last winter when I’ll be chasing Lucky around in the pre-dawn rainy blackness with a flashlight and handing out extra plastic bags. No way will I ever see 6 a.m. again unless I go to bed at 6 a.m.

(Loyal Reader Accused of Lurking celebrated his birthday last week by sleeping in. He didn’t get up until…5:30 a.m. Normally, he gets up at 10 o’clock at night, half an hour before he goes to bed, drinks a cup of sulphuric acid, works 29 hours a day down-mill, pays the mill owner for permission to come to work, and when he gets home, his parents kill him and dance about on his grave singing “Hallelujah.” But you try to tell the young people today that…they won’t believe you.)

Work was OK. I took two naps under my desk. Nobody knew I was unconscious. I shelved problems, reordered priorities, and rationed productivity. Today was also the first day of the company’s fiscal year, and to celebrate, we had donuts rather than bonuses. I ate a donut. There are fewer calories in a bonus, but you take what you can get in this life.

As for the Clarion West Write-a-thon, something is simmering inside my book. Finally. I’m imagining scenes and hearing dialog. I’m not sucking on a bong, either.

I’ve recently reread some of the work of a writing teacher I respect, Jessica Page Morrell. She once wrote an essay about manuscripts that have entered a coma and what to do about them. A brief quote:

Problem: The plot is meandering, stalling. You keep changing your mind.

Solution: All writing requires a deep understanding of structure. Without this understanding you’ll waste time, hit dead ends, and write endless drafts. Find a structure that works for you and stick with it….Always know where you’re going before you start writing and head toward that ending.

The time I’m putting in now on structure is the time I should’ve put in years ago. (Although it could be that years ago I wasn’t ready. Trying to write a novel has meant learning more about me.) I can’t get by on enthusiasm, though God knows I tried.

Now I’m feeling organized, energized, somewhat enlightened…and one day closer to retirement.