Back in the saddle

Well, I started writing the novel again. But I had to read through the whole thing first. And the fun thing about that is this: The last thing I had written is now the preface to the book. A section of text that would have been buried in the middle of the book fits quite well at the beginning. It was like the proverbial lightbulb came on. Sometimes I guess you just have to step away from something for awhile...

I also decided to break up my chapters. So, some of them are actually pretty short -- about two pages. Personally, I think it works great. I'm just making chapters wherever there's a natural scene change, or a change in tone. So, if you're following this blog -- and you're probably not -- keep your fingers crossed that I continue. I have renewed faith in this thing and I want to keep that passion alive.

Joyce Carol Oates on writing characters

Someone Knows My Name

Today, I have read nearly 100 pages of Lawrence Hill's Someone Knows My Name.

Amazing book. It's so real, I can't believe it's fiction!

(I want to write like him)

A new book I'm reading

I hate to admit that I once again put down Sinclair Lewis' Main Street!

A colleague in the Missouri State University's Special Collections and Archives recommended Erik Larson's Devil in the White City. WOW!! This is a great historic novel -- so far. I picked it up at Barnes and Noble in Denver. I started reading it yesterday, and I can't put it down. It's the true story of a cunning and vicious serial killer who was taking advantage of the 1898 World's Fair in Chicago to lure and kill his victims. Larson switches each chapter between the architechts of the fair and the killer -- who could seriously be one of the sickest, most-vile in history. Larson (a former feature writer for the Wall Street Journal, shows that he pays attention to each and every sentence. Well done. I can't wait to get back to it!

It's also very encouraging, since my thesis is creative nonfiction.

Sinclair Lewis

OK...I know little to nothing about Sinclair Lewis, but I DO know that he changed my life.

How's that, you say?

Glad you asked.

As some of you might know, I am a former newspaper reporter. Back in 2001, while working for the Springfield News-Leader, I had the pleasure of working for an executive editor named David Ledford. I don't think that I impressed him much as a writer, but he took a chance and devoted a lot of time to me. When I struggled with a story, he'd sit with me until the early morning hours to make sure I got it right. When I needed a push, he was there to give it. He's a gruff fellow, and not everyone enjoyed his approach to editing, but he knew how to motivate me.

Ledford encouraged his reporters to let the readers "see" what we were seeing as reporters. He drilled into us the importance of narrative writing. He held workshops, sent us to seminars, etc.

One day, he called me into his office and he asked, "Have you ever read Sinclair Lewis' Main Street?"

"Um, no."

"Read that and you'll know how to write."

That was the first time I'd ever heard an editor or any instructor of journalism say that reporters should read literature to become better news writers! What a novel idea!

So, to keep up my good standing with my boss, I went to the library and checked out Main Street. I read the first dozen pages and caught on to what he was talking about -- but that was as far as I'd ever been with that book. However, I did decide, at that point, to concentrate on my storytelling, to become the best writer I could possibly be. I got away from "just the facts ma'am" reporting and became a storyteller -- trying to let the readers "see" what I was seeing. And since then, I've taken a new approach to all writing -- whether it's a news article, press release, magazine feature, etc.

All this to say that I've finally gotten around to picking up my copy of Main Street and I'm devoted to reading it this winter. It's a pretty good book so far, and I'm excited to get lost in Gopher Prairie.

Have any of you read this book?

P.S. I'm sorry I haven't posted in awhile (I know that's a cardinal sin with blogging), but I've been busy with "end-of-semester" things like papers and a linguistics final -- and, of course, making arrangements to finish my thesis. By the way, I received an A in my linguistics course, so all I have left are comprehensive exams and this thesis! Keep me in your prayers.

Things I'm learning along the way

This blog is actually working...

No, there are not very many comments coming in (yet), but by writing my occasional posts, I have been motivated to work on my book and to seek out resources that I didn't know existed before I started this (Wicked Wordsmith, Crimespace, etc). As of today, my book is at 22 pages and I'm well into chapter 2! This is exciting for me because I have a definite direction for this work -- and that is a huge accomplishment for me, as I've started many things that just kind of fell flat.

Some things that I'm learning along the way:

1. The characters really do drive themselves. Yes, I have a conclusion in mind, but my protagonist has a life of his own. I often find myself saying things like: "He'd do this instead of that" or I'll go back and make significant changes because I'd have Tommy doing something that was totally out of character.

2. I read somewhere that you shouldn't introduce secondary characters without having them reappear again with some significance. That makes a lot of sense, when I think about it. I've actually introduced some characters for flavor, but coming across that advice, I need to figure out how they'll reappear. I'm actually very excited about this and have some ideas.

3. I need to write when I don't want to write. The other night, my wife and I were lounging on the couch and flipping channels. I told her: "I hate nights like this when you feel like you've just wasted an entire evening." She said "Why don't you go write?" At first, I felt like saying "I'm tired" or "I just don't have it in me tonight." Instead, I got up and dragged myself to the computer and pounded out three pages or so. I started to get tired and wanted to quit midway through a scene, but I continued to write -- just to finish the scene and "turn the corner." Before I went to bed, I had revised the first chapter (again) and was well on my way into Chapter 2 (It might even be time to move to Chapter 3). I was tired the next morning, but something had been accomplished -- which is the point, right?

4. Do chapters have to be similar in length? At this point, I'm deciding they don't because my second chapter ends naturally at about half the length of the first. Is this appropriate, or is there some rule regarding chapter length?

Looking forward to some comments!!

Considering a change

I am very disgruntled with my creative nonfiction thesis project -- so disgruntled, in fact, that I'm considering a change. I want to write fiction! But I've taken no fiction writing courses because there haven't been any offered after 5 p.m., when I could take them.

Some challenges I've discovered with creative nonfiction:

1. It's tough to analyze yourself and to then put it down on paper.
2. When people are still living, it's tough to analyze them and put it down on paper -- for me, there is a genuine fear of upsetting someone. Facts are facts, and they should speak for themselves (in theory and within the confines of objective journalism); but...when delving into creative nonfiction, you let your judgements show, and that still seems pretty risky to me.
3. I've got some great nonfiction ideas, but I feel rushed to write those stories based upon a thesis deadline.
4. Right now, I want to write fiction -- plain and simple!

Any thoughts?

Resident Tiller of the Soil

Are you the "resident tiller of the soil" or "the trading seaman?"

In Walter Benjamin's "The Storyteller: Reflections on the Works of Nikolai Leskov", the author examines these two groups.

Experience which is passed on from mouth to mouth is the source from which
all storytellers have drawn. And among those who have written down the tales, it
is the great ones whose written version differs least from the speech of the
many nameless storytellers. Incidentally, among the last named there are two
groups which, to be sure, overlap in many ways. And the figure of the
storyteller gets its full corporeality only for the one who can picture them
both. “When someone goes on a trip, he has something to tell about,” goes
the German saying, and people imagine the storyteller as someone who has come
from afar. But they enjoy no less listening to the man who has stayed at home,
making an honest living, and who knows the local tales and traditions. If one
wants to picture these two groups through their archaic representatives, one is
embodied in the resident tiller of the soil, and the other in the trading
seaman. Indeed, each sphere of life has, as it were, produced its own tribe of
storytellers. ...

The actual extension of the realm of storytelling in its full historical breadth is inconceivable without the most intimate interpenetration of these two archaic types. Such an interpenetration was achieved particularly by the Middle Ages in their trade structure. The resident master craftsman and the traveling journeymen worked together in the same rooms; and every master had been a traveling journeyman before he settled down in his home town or somewhere else. If peasants and seamen were past masters of storytelling, the artisan class was its university. In it was
combined the lore of faraway places, such as a much-traveled man brings home,
with the lore of the past, as it best reveals itself to natives of a place.

At this point in my "career" I consider myself a resident tiller of the soil -- "the man who has stayed at home, making an honest living, and who knows the local tales and traditions."

As a journalist, I have taken what others have told me, organized it, and passed it on. So far, that's been my form of storytelling (which, Benjamin would argue -- along with the novel -- is a step down from the oral tradition).

There's a lot more to the essay than what I've shown here, but I like the imagery of digging up the stories and sharing them with others. As writers, that's our job -- whether the stories come from others or from our own personal experiences, expressed in both fiction and non-fiction.

What do you think?

(Actually, I think I confused myself in all of this ...)

Crimespace

I recently became a member of Crimespace ("a place for readers and writers of crime fiction to meet").


Angela, Wicked Wordsmith, revealed on her site that Crimespace was hosting a short story competition. The theme is "Australia" and the use of this theme is very broad. I think I might enter.

"It was a dark and stormy night...."

Given that it is Halloween, I thought you all might like to know exactly where the phrase "It was a dark and stormy night...." originated.

It was the opening line in Edward George Bulwer-Lytton's 1830 book Paul Clifford.

Here is the entire opening line: "It was a dark and stormy night and the rain fell in torrents--except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness."

There is actually a contest for bad writing called the Bulwer-Lytton Fiction Contest.

This information was first passed along to me by a student, Ingrid, who worked in our office. She's a great writer and we had a good laugh about this a year or so ago.

Happy Haunting!

(I think it would be fun to write a good ghost story....maybe I'll post one here sometime...I bet you can guess what my opening line will be!)

A chilling tale...

It's Halloween, and it's time to to be scared.

A few years back, I read (and subsequently wrote a paper about) Henry James' "The Turn of the Screw." The paper was crap, but the story was great -- scary!

The opening paragraph of this superb ghost story sets a frightening scene. I thought I would provide it here, along with a link to an online version of the tale in case anyone is interested.

From "The Turn of the Screw":

The story had held us, round the fire, sufficiently breathless, but except the obvious remark that it was gruesome, as, on Christmas Eve in an old house, a strange tale should essentially be, I remember no comment uttered till somebody happened to say that it was the only case he had met in which such a visitation had fallen on a child. The case, I may mention, was that of an apparition in just such an old house as had gathered us for the occasion -- an appearance, of a dreadful kind, to a little boy sleeping in the room with his mother and waking her up in the terror of it; waking her not to dissipate his dread and soothe him to sleep again, but to encounter also, herself, before she had succeeded in doing so, the same sight that had shaken him. It was this observation that drew from Douglas -- not immediately, but later in the evening -- a reply that had the interesting consequence to which I call attention. Someone else told a story not particularly effective, which I saw he was not following. This I took for a sign that he had himself something to produce and that we should only have to wait. We waited in fact till two nights later, but that same evening, before we scattered, he brought out what was in his mind.

For more of the text, go to the page at the University of Virginia's LibraryElectronic Text Center.

"Turn of the Screw" does not offer a clear explanation as to exactly what is happening. The novella has been the subject of much debate since it was first published. Is it real? Is it psychological? Psychosexual?

Read it and let's discuss.

Aside from "Turn," it's been awhile since I've read a truly scary story. Do you have any recommendations?