All Writers Should Be Poets

Writing is Magic
image from Dreamwidth Studios

Yes, all writers should be poets. And word musicians. They should play language, the simple, normal language of real people. Because simple, normal people (whether they have the time to see it or not) live in all the colors of sound and sight and touch. And thought.

Barbara Kingsolver is just such a writer.

From Pigs in Heaven:

              "Cash learned beadwork without really knowing it ....
                He never imagined ...
                he would have to do another delicate thing with his hands ...
                to pay the rent. But since he started putting beads
                on his needle each night, his eye never stops
                counting rows: pine trees on the mountainsides, boards in a fence,
                kernels on the ear of corn as he drops it into the kettle.
                He can't stop the habit, it satisfies the ache
                in the back of his brain, as if it might
                fill in his life's terrible gaps.
                His mind is lining things up,
                making jewelry for someone the size of God."

The words are Kingsolver's. The line breaks are mine. The experience is ours. Yours and mine in this time of Covid-19 when we keep apart from our old lives. We work puzzles (jigsaw and otherwise) or binge watch TV or read or sleep or garden or bake or any and all the things we each do to satisfy "the ache in the back of" our mind. To fill "life's terrible gaps" brought into such fine focus by our new, slow-paced, quiet time.

Maybe, in this new, slow-paced, quiet time, we are all "making jewelry for someone the size of God." .

Truth in Fiction -- On Writing

Mark Twain
(photo from americaslibrary.gov)

In this day and age of 'truthiness' (used satirically way back in 2005 by Stephen Colbert) and 'fake news' (used by *rump for any statement of fact with which he disagrees,) I write fiction. "What's the difference between truth and fiction?" you might well ask. 

From The American Heritage Dictionary:

     "truth (trooth) n. 1. Conformity to fact or actuality. [Middle English trewth, loyalty, from Old
           English treowth. see deru-  in Appendix I]
           Appendix I  deru- also dreu-. To be firm, solid, steadfast.
                  Derivatives include tree, trust, betroth, endure, and druid."

     "fic·tion (ˈfik-shən) n. 1a. An imaginative creation or a pretense that does not represent
         actuality but has been invented. 3a. A literary work whose content is produced by
         the imagination and is not necessarily based on fact. [Middle English ficcioun, from
         Old French fiction, from Latin fictio. . . ."

Now you know the difference, but what's truth got to do with writing fiction? Mark Twain said it perfectly -- "Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; Truth isn't."

Which brings us to another word:
     "veri·si·mil·i·tude  (ver-ə-sə-ˈmi-lə-ˌtüd , -ˌtyüd) n. 1. The quality of appearing to be true or real.

And verisimilitude is what fiction must have "The quality of appearing to be true...." even if it's set hundreds of years in the future. Or the past. Whether it's populated by zombies or typical teenagers.

Fictional settings must put the reader into the place. The writer must give the reader the sights, smells, sounds, and feel of the place. And sometimes the taste. Whether we consciously think about it or not, our senses tell us where we are in the world and a writer can play to those senses.

The writer need not use graphic sensory descriptions. The scent of impending rain. The air need not be laden with the smell of roses or the feedlot (unless, of course, roses or manure play a role in the story.) The sound of summer insects welcoming the night. The writer doesn't have to specify which insects. Light dappling the still waters. Specific colors are not necessary. The hot wind driving him across the prairie. It could be burning his skin or drying his sweat. The salt water filling my mouth. From whatever water source.

Unless specifics are necessary to the story, the writer can and should leave them to the readers' imagination. Give the reader room to bring their own experiences to the story. Let them participate.

If the setting is a real place, use specific, real descriptions. The reader will be reminded of the place if he's been there or he will recognize it, should he ever find himself there.

Keep in mind, describing reality can be a trap that the writer unwittingly sets for himself. Descriptions of reality must be absolutely accurate.

I was listening to music from the Disney film Pocahontas. The phrase "blue corn moon" threw me out of the song's narrative. The story is set in what is now Virginia. Blue corn grows in Mexico and the American Southwest. Blue corn in Virginia is wrong.

My husband pointed out "It's Disney! Deer don't make friends with rabbits, either." Well, there is that. We can all point to exceptions, Disney being a successful one when it comes to unreality.

Characters should be treated with the same lack of specificity. Unless a physical characteristic is necessary to the plot, writers shouldn't get too specific. Characters' thought processes, speech patterns, and behaviors are more important than whether or not she has blonde hair or he has a six-pack.

The use of our senses comes into describing our characters, too. Smelling of tobacco and alcohol, Geoff loomed over her. Her teeth chattering, she cringed away from him. We all know these characters. Readers will fill in whatever they need to be satisfied about what these characters look like.

And, as with real places, real people who might show up in our fiction, must be treated scrupulously. If Thomas Jefferson or Henry VIII appear, their hair must not be described as black or blond. Too many readers know they had red hair. Teddy Roosevelt wore glasses. Shirley Temple had a dimple.

We don't have to mention these things, but it's important to get the things we do mention about real people, right.

We, as writers, don't want to remind our readers that these stories are fiction. We want them to believe in the story and the characters enough to stick around and see how it comes out. Maybe they'll even seek out other things we've written.

So, unlike politicians, we fiction writers gotta keep it real. Or at least real enough.

Where I Was 3 Years Ago Today -- Nonfiction

In 2013 my daughter Grace invited me to write as a guest on her blog Sin and Inconvenience. This is what she published Tuesday, August 27, 2013, three years ago today. Facebook reminded me. And, yes, the novel in question is available from Amazon in both paperback and Kindle additions -- Murder on Ceres.

My first novel, first draft almost finished. How did I get here? If I were Michener I would start--In the beginning, God. This blog post begins only a little later than that, but well before cell phones and the internet.

I used to write and submit poetry for publication. Acceptance letters along with the standard thank you and a promise of two copies of the issue in which my poem would be published thrilled me. But in those pre-cell-phone days, it cost a fortune to call all my friends and relatives long distance to tell them the good news. Not to mention the expense of buying additional copies of said issue and postage to send those copies to friends and relatives.

I’ve worked for a small-town daily newspaper. I’ve seen my by-line and my name in cutlines enough. But the idea of a book with my name on the spine sitting on a shelf in the Edmond Public Library seems much too grand. It shimmers above me in the night sky, brighter than the moon. A dream, a desire, a star too brilliant to look at and too distant to touch.

Knowing that a novel was beyond me, my book started out as a short story. I’ve written short fiction. I took a course in college. I understand how it works. So all I needed was a prompt of some kind and a deadline. My daughter provided the prompt and the deadline allowing me to choose the genre.

I ignored her prompt and chose murder and science fiction. And I went to work.

The deadline came and went, and the work proved to be as undisciplined as I. The story would not limit itself to short fiction. So I reconsidered the situation and decided to do a little book, a murder mystery that takes place on a colony in low orbit around the asteroid Ceres. But I needed help.

I happened to attend a monthly meeting of Oklahoma City Writers, Inc. at which William Bernhardt was doing a two hour presentation on novel writing. He talked about outlining. An instant turnoff since my research paper days too many years ago. But he made sense and showed how to plan the structure of my book. He was talking about the actual nuts and bolts of constructing a book-length story.

Three years plus several months, three of Bill Bernhardt’s intensive writing workshops plus a conference here and there, and I am coming around the last turn on this full-length murder mystery science fiction novel.

Bill said write every day. Four hours a day. If I had done that the book would have been finished long ago. Did I mention that I’m undisciplined? I heard somewhere that Stephen King says to write four hours a day and read eight hours a day. Or was that Mark Twain?  The eight hours reading I could go for, whoever said it.

There was a recommendation that I join a writers’ critique group for support and critical input. But that meant I had to also give support and critical input. I left every one of those meetings feeling bad because I had said harsh things to people as earnest about their writing as I was about mine. Tact is not one of my virtues. And have I mentioned lack of self-control?

Then somewhere else the advice was to just write it all the way through, do not do any editing until the story is complete. What a good rule. But mine is a murder mystery. As I wrote I discovered things that needed to appear earlier in the story. That required a rewrite of a scene. Editing? Even sitting down to begin the next writing session without looking at what I’d done the day before was impossible. Reading the work from the day before required minor or major changes. Did I mention that I tend to break rules even when I impose them myself?

What have I learned these past three-hundred, ten pages, and counting? Somewhere I heard that the definition of the verb to persevere is to begin again, and again, and again. No matter how many times my discipline fails, my control is lost, and my rules are broken, I can begin right now where I am. My book will be written and I will be launched into the night sky to find my name on the spine of a book in the Edmond Public Library. Just gotta finish this book first.

Claudia Wagner

I was born in Oklahoma. I learned to read under my mother’s ironing board. I learned the importance of stories around the dinner table during holidays and in the cellar during storms. I started writing to entertain my classmates. I continued to write because classes or work required it. Sometimes I wrote to understand my life. I have been office help, a welfare case worker, a fast foods manager, and a roustabout in the oil patch. I have also worked for the USDA. I’ve managed a veterinary clinic, helped care for my dying mother, and been a Page at the Edmond Library. I am a woman, a wife, a mother, and a grandmother. I believe the future of humanity is as unlimited as the Universe. And I believe that we as a species are imaginative enough and brave enough to move beyond the Earth into that Universe.

X and Y are for X-act-lY a review

     Today is the first day I've written since one week ago yesterday. After a surprise appendectomy late Good Friday, it seemed all was well. And I suppose it was, but Tuesday, a week ago today, things took a turn for the worse and I was back in the hospital with cholitis. Not a good choice. Not a choice at all, really.

     That Tuesday, Wednesday, and most of Thursday, I did nothing but sleep. Then Thursday I opened my reader to Hemingway's A Moveable Feast. I've never been a big fan of his writing style, however this autobiography of his time in Paris in the early 1920s is wonderful. There are still the passages of dialogue full of he-saids and she-saids, but this particular work is filled with the sights and sounds and lives of people in Paris during the post-WWI era.

 

 

Ernest Hemingway and his son Bumby

Paris 1924

 

    In this book I got to see Hemingway as a struggling writer with a young family. During this period he had given up journalism in favor of creative writing. He turned out short stories that were rejected for publication in the United States. In fact, German publications seemed to be his only markets.

     His approach to writing was as intense and focused as a runner training for a marathon. He talks about writing in cafes, describing them as a warm place to work for the cost of a drink. About interacting with the then and now famous literati of the time -- Gertrude Stein, Evan Shipman, Ezra Pound, F. Scott Fitzgerald, Ford Madox Ford, etc. About their petty jealousies and unfounded admirations. About their demands and generosities. About their advice, sometimes accepted. And about their writing, adding to my own list of intended reading.

     And, at the end of the day, he went home to his family.

   

Sylvia Beach in the doorway of her bookshop

Shakespeare and Company

 

     He also wrote of his discoveries, solutions to life problems, the greatest of which was poverty. His accidental discovery of the Shakespeare and Company bookshop made his life and work there possible. Sylvia Beach served as a lending library to those who could not afford to buy books. He paid his minimal membership fee right away but not before she sent him home with volume after volume to read. And he could take the books with him when he and his family traveled. He had to read.

      She also loaned him money when he needed it. Freely. And she reassured him during those times that, like all authors, like all people who set themselves lofty goals, he was good and the world would eventually appreciate his work. After all, didn't the Germans already?

     His descriptions of life in Paris at that time are physical. The light playing across damp faces of  buildings. The goatherd piping his arrival on their street. Milk was delivered on-the-hoof in that pre-refrigeration time. How to travel on foot from where you were to where you wanted to go without passing restaurants and bakeries emitting scents of things a hungry man could not afford to buy.

     And always his main interest was to perfect his writing.  Disdaining unnecessary adjectives and adverbs in favor of the mot juste -- "the one and only correct word to use." 

     To show his characters in their world X-act-lY.

    

H is for Hemingway

 

I like this picture because he's smiling, a rather mischievous smile, at that

My cousin and I recently discussed Hemingway. There are few famous writers whom I appreciate less than him. Faulkner and James Joyce, being two. I must admit that I think the failing is mine in their cases. I simply can’t follow their stories. John le Carré fits in that group, now that I think about it.

          Ernest Hemingway and Henry James, however, I do not like because I do not like their writing styles. They both tell good stories, but it’s the way they tell them.

Henry James’ run-on sentences bring out the editor in me. I heard someone once describe him as “chewing more than he bit off.”

Hemingway, on the other hand, never met a complex sentence he liked. And very few compound ones. In The Old Man and the Sea he makes me crazy with his uninspired attributions: “and the old man said,” “and the boy said,” “and the old man said.” But it is a good story and it’s a skinny little book so I wasn’t frustrated with it as long as I was with James’ The Golden Bowl.

Generally speaking, I am not interested in authors’ biographies. If I like their work then I don’t want to know much about them, because I might not like them and that would color my enjoyment of their work. If I don’t like their work, then who cares about their lives?

 Call it inspiration or curiosity or maybe just a way to avoid working on my own book – I found myself reading Wikipedia’s entry on Hemingway. His story would make an epic novel, filled with sex, violence, exotic locations, famous people (some wealthy and powerful), and a tragic ending.

 After all this complaining, I can recommend For Whom the Bell Tolls and A Farewell to Arms. Plus, I think his short fiction is excellent. Now I think I’ll read A Moveable Feast, his autobiography, and see what he thought of his life.

 

Self-Publishing

 

    Friends, neighbors, and kin there is great danger out there for the would-be-published writer. Just like this selfie, the self-published book is likely to fall victim to the vagaries of amaturism.

      If a professional had taken the above photo, they would have at least suggested closing the bathroom door. Though I am relieved that my bathroom looks fairly clean. There would have been a suggestion that I comb my hair and put on a little make-up. And, without a doubt, the photographer would have made my face the focal point of the portrait. There may even have been an attempt to catch some facial expression other than this wide-eyed, deer-in-the-headlights look of surprise. How I could have been surprised when the camera flashed, I cannot explain, since it was I who pushed the button.

      I bought a book yesterday from a self-published author. He was selling them cheap because his wife found some typos in them.

      I had high hopes for him and his book and terrible fears. I am completing my own book Murder on Ceres and plan to also self-publish. Oh, bless his heart, if the only problem with his book had been some typos.

      I believe writing a book is like building a house. You can build a house without experience or training as a carpenter, plumber, or electrician. But having always lived in a house does not qualify you to build a house that works. The same is true of writing a book. True, reading books is essential to writing them, but it's not enough.

      Where to begin? Desire always comes first. Always. Because everything else is hard, lonely work. Next is a good teacher. That can be expensive both in time and coin, but if you're serious, you will make arrangements. That's where desire comes in.

      I had the good fortune to find William Bernhardt. And it's not important what the teacher writes, only that they do write. And that they understand the mechanics of writing inside and out and upside down. Otherwise, unless you are a much quicker study than I, they won't be able to explain it so you can understand it.

     And then you have to listen to what they say. Personally, I do not like to be told. Anything. So my first reaction to any kind of instruction is negative. I never follow instructions until I discover for myself that my way won't work. After all, without the concept of mid-course corrections, we'd never have made it to the moon. And my mid-course correction involves arguing with my teacher, going away and thinking about what he said, and finally seeing that he is right. Then I apply it to my work.

     Bill Bernhardt has several pet sayings, one of which is "show, don't tell." The author of the book that started me on this rant, spends pages dropping brandnames and fancy places to tell us that his hero is rich and cool. There are ways to do this in a line or two. When an older woman is announced by her butler as "the Dowager Countess," we know we're looking at old, English money. When the hero climbs out of a natural gas powered Humvee, we've got a pretty good idea he's a former California-governor-type and his first name may be Arnold.

     If your hero's socio-economic status is not the main point of the story, please don't bore us with constant reminders of it. I promise we will remember that he drives a brand new Lexus even without your saying it every time he gets into or out of his car.

     Oh, yes, and that can easily get to be too much choreography. If he starts the page in Manhattan and ends two pages later on Long Island, we don't need a turn-by-turn narrative of his trip. Unless it somehow shows up later in the story and we were supposed to remember it because the bad guy takes a different route. In which case, the writer will have to make this clear some other way, because I will not remember all those turns and probably won't continue reading long enough to get to the bad guy. 

     There are lots of other opportunities to fall on our butts when we self-publish, but you're probably as tired of reading this right now, as I am tired of writing it. Besides, I have a re-write to finish.

     Bill has a website with his seminars listed and he has several good books and videos on the art and science of writing. Check him out at www.williambernhardt.com/



Celebrity Writers

Do you know who this is?

 

   He's a celebrity author. He is one of the "world’s bestselling and critically acclaimed thriller writers" according to the publisher Simon and Schuster who's coming out with an anthology of stories from 23 thriller authors next year.

 

   Admittedly my sense of celebrity seems not to fit that of our general society. I have little interest in athletes or entertainers. Though I can admire the feats of a Michael Jordan or a Maggie Smith, I can't say that I would go out of my way to sit next to them at dinner. Though to be at table where they sat next to each other might be interesting.

 

   Celebrity writers, on the other hand, I would go out of my way to sit next to at dinner or at the same table or in the same hall. Wouldn't it be grand to listen to Ken Follett and hear him say in person that he did not sell his first novel nor indeed, his tenth? If he who has written so many good books and been so often published did not sell his first one then there is hope for me. And J.K. Rowling whose Harry Potter series was rejected by umpteen publishing houses before Scholastic picked it up, then my Rafael Sirocco series has a chance.

 

   Okay, for those two celebrities, it's more about me.

 

   Sometimes my admiration is for writers who have lived through and written about history that I'm interested in. Kurt Vonnegut, Jr.'s novels are among the best in American fiction, but for me his celebrity status comes from his own life experiences. He was a World War II prisoner of war held in Dresden, Germany, during the Allies' bombing and subsequent firestorm there. Later, his work with PEN International to focus attention on the plight of writers being persecuted in their own countries.

 

   Maya Angelou is in this same category of celebrity writers because of whom she had known--from famous leaders in our country's civil rights movement to unknowns in that same struggle. I get a thrill every time I drive through Stamps, Arkansas, because I know she lived there as a child.

 

   Then there are some of my favorite authors--John Irving, Robert Jordan, John Lescroart (That's his photo, by the way.) Diane Mott Davidson, Donna Leon, Patrick O'Brien. These are the writers I come back to time and again. Not because they feel like celebrities to me. I'm not even particularly interested in meeting them. It's their characters that I would like to spend time with, talk to, or just admire in person.

 

   I would like to know:

 

   John Wheelwright, best friend to John Irving's Owen Meany, from A Prayer for Owen Meany my favorite novel. It's about growing up. It's about friendship. It's about living with disability and mortality.

 

    Egwene, the country girl who becomes the head of the greatest institution in Robert Jordan's Wheel of Time world. She is only one of literally a world of characters with whom I would gladly spend time. Well, all except the truly scary villains and terrifying creatures. Those can stay on the pages of the book.

 

   Dismas Hardy and Abe Glitsky and their families from John Lescroart's San Francisco based crime novels. Beginning with the first of these novels we meet these people and follow them as they build their lives together. Maybe we could all meet at Lou the Greek's for lunch.

 

   Goldie Bear from Diane Mott Davidson's culinary mysteries. We follow Goldie and her best friend (who happens to share the same abusive ex-husband whom they both refer to as 'the jerk') and Goldie's son as they get involved in murder mystery after murder mystery. Goldie does meet and marry a Colorado, sheriff's detective named Schultz. Nice man. Nice country, since that's where I live. Goldie is a caterer so naturally there are recipes included, most of which I've tried in my own kitchen.

 

   Commissario Guido Brunetti from Donna Leon's murder mysteries set in Venice, Italy. This  policeman knows the vicissitudes of the Italian justice system but works to solve crimes and bring the bad guys to some kind of reckoning anyway. He loves and respects his wife. The stories don't always have an ending that satisfies my just-desserts sensibilities, but they feel real and I understand Brunetti's cynicism. Couldn't we have a great discussion about right and wrong?

 

   Patrick O'Brian's Jack Aubrey from Master and Commander and the other books in this series that follow the British navalman through the Napoleonic wars. And let me just say Jack was hot in the books before the movie folk cast Russell Crowe to play him in the movie version. I might even flirt a bit.