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Ordinary Horrors

Out of Context Excerpt 7

2/28/2015

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The list/rant/whatever from the story "Bad Guts," in the collection Long Time Ago Good.
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“No kidding,” Wes said. He looked at the neon beer sign hanging behind Jillian—a rainbow trout leaping for a mayfly—and felt sad. Like weeping, almost. There would be no cool water in Pflugerville—no fame, no fun. Just heat and hog guts, chitterlings or chitlins, menudo or hog maws, or whatever that stuff was, and who wanted to write about any of it?  In the 23 years the newspaper had been running his column he had written about barbecue (chicken, sausage, ribs, brisket), country music, tractor pulls, pro wrestling (he had a fondness for old school wrestlers like Ivan Putski and Mad Dog Vachon), ice cream, fraternity hijinks, sorority snootiness, the color orange, rodeo, Juneteenth, Confederate Heroes Day, the NAACP, the Ku Klux Klan, beer (local beer, imported beer, cold beer, the meaning of beer), homosexuals, lesbians, zoophiles, necrophiles, Aggies, airports (airports in general, the old airport, the new airport, funding for the new airport, the land scandal surrounding the place that almost became the new airport, and why the old airport was better), light bulbs: incandescent versus florescent, thunder, lightning, tornadoes, hurricanes, ice storms, floods, droughts, cold, heat, rock’n’roll, nose rings, nipple rings, navel rings (he wrote a penis ring story, too, but the editor said it didn’t belong in a decent family newspaper), motorcycles, skateboards, in-line skates, pogo sticks, dogs, cats, parrots, grackles, ostriches, golden-cheeked warblers, fire ants, millipedes, cockroaches, mosquitoes, blind salamanders, tooth spiders, carp, trout, bass, catfish, bats, mice, rats, raccoons, possums, lions, tigers, bears (grizzly bears, black bears, and teddy bears), old cars, new cars, art cars, pickup trucks, and diesel mechanics. He had attended the Budafest, the Wurstfest, the New Highway Fest, the International Barbecue Fest, the Aquafest, the Cedar Chopper Fest, the Sorghumfest, the Pecanfest, the Cotton Pickin’ Fest, the Very Best Fest, the Locust Fest, the Big Ol’ Bull Fest, the Chiggerfest, and the Crappiefest, along with Catfish Days, Frontier Days, Cicada Days, Buffalo Days, Pioneer Days, Prickly Pear Days, Crazy Daze, the Rattlesnake Roundup, the Chilympiad, the White Bass Run, the Mesquite Burn, the Skunk Wallow, and Spamorama. He had been to dozens of county fairs and stock shows—dozens. Three times a week for 23 years he’d written about colorful, folksy stuff—all kinds of colorful, folksy stuff—and he was popular, and he won awards, and people actually read his column.

But colorful and folksy was getting harder and harder to find: the city had changed, was changing. There were big-assed skyscrapers downtown now, and tech millionaires cruising around in Maserattis, and waves of immigrants from California and Mexico—and everywhere else on the planet, seemingly—had changed the texture of the town. Colorful and folksy, real colorful and folksy, was getting hard to find. Wes tried a few times to write about the new city he was seeing all around him—he wrote about the gentrification of the east side, about inappropriately huge mansions in old neighborhoods, about traffic and traffic and traffic, about air and water pollution, about the loss of friendly old bars and restaurants, and the snootiness of new bars and restaurants—he wrote columns about the new city, and nobody liked them. They were downers. They sounded like the carpings of a cranky old man. Nobody wanted to read that. People wanted colorful and folksy—at least from him, they wanted colorful and folksy. He went back to recycling old topics. In the end all it got him was a gig as the celebrity judge at the Greater Southwest Chitlins Cookoff and Jamboree.

 “We’ve got the seventeenth-largest city in America,” Wes said, “and there’s going to be all these people running around worrying about hog guts.”

“That’s what makes Austin fun,” Jillian said. “It’s weird.”

“It’s all a big lie,” Wes said. “And I’m a big liar.”

“Poor Wes,” Jillian said again. “You’re just feeling sorry for yourself.”

“If you were me, you’d feel sorry for me, too.”

“No, I probably wouldn’t,” Jillian said.

Wes just stared at her.

“Really—I wouldn’t.”

“You’re part of the problem,” Wes said. He took a sip of beer and looked at the television. Some rich bastard was putting. He said, “This is going to be the worst day of my life. The very worst day."

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Revisions 4: Revelation and Forward Motion

2/21/2015

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For me the Revelatory Draft is the fun part of writing—sitting back with my notebook and letting the sentences unspool, doing a word count at the end of my session and posting the number of words into a spreadsheet and watching the numbers grow day by day. (A trued downside of revision for me is that my wordcount doesn’t mean as much as it did when doing the Revelatory Draft. I miss my charts and graphs).

When asked (and somebody usually does ask), I recommend that people write by hand, write old-fashionedly, with a pen or a pencil, on paper of some sort. I first heard a writer talk about this back years ago, when I was attending a summer workshop at the University of Montana. Novelist Ron Hansen was one of the instructors, and he said that when writing his first drafts he had abandoned computers for a pen and notebook. He said the when writing on a computer he was too tempted to write and rewrite and rewrite the same sentence over and over again, trying to get it perfect, unable to move on to the next sentence, the next scene, the next sequence, chapter, whatever. I felt a flash of recognition there, because I had noticed the same thing with my writing—I would get stalled on a sentence, trying my best to make it perfect, unable to see that the rest of the story was at that point, any point, unwritten. Of course, many people love writing on computers, and I’m not going to proscribe the ways you can best get words onto a page. Like so many things in writing, you have to find what works best for you.

 But. No matter the brain-to-finger method, I do want to emphasize the importance of forward motion, the importance of keeping the ideal end of your narrative somehow in sight out there and working more-or-less in that direction until an Actual End presents itself. Don’t worry about the overall quality of your revelation, just get it revealed.



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You Still Need Soft Eyes....

2/19/2015

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In tomorrow's class, I'm going to be talking about the need for writers to have Soft Eyes, so I figured I might as well repost what I said about them a couple of years ago....

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This man has Soft Eyes....
The Wire gets my vote for the best show in TV history. It’s a brilliant work on so many, many levels, and it’s full of—yes, wisdom.

In the Season Four episode “Soft Eyes,” Bunk condescendingly lectures/hazes Kima on what to look for at a crime scene. He says she’s going to need soft eyes:
If you got soft eyes, you can see the whole thing. If you got hard eyes—you staring at the same tree, missing the forest.
It’s a wonderful character line, full of wisdom that we writers can appropriate for our own use.

A writer needs soft eyes. Right? Right. Of course. A writer needs soft vision that that embraces the world, caresses the world, acknowledges all the pain and beauty and mystery and despair and loneliness and happiness that exists in the world. You’re a writer with hard eyes? Your vision is going to ricochet off whatever you might think you’re looking at—it’s going to bounce away, deflect, reflect—you might as well be blind. You’re not going to see with hard eyes. You’re not going to understand....
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Out of Context Excerpt 6

2/12/2015

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This week: out of context with That Demon Life....
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All the bartenders at the Little Wagon were women, and they kept the ladies’ bathroom very clean—at least in comparison with the men’s room, which was covered with foul graffiti and had an ancient toilet that seeped beery urine onto the floor. The ladies’ room had a sink with running water, a clean toilet, a mirror, plastic plants, and a photo of the Austrian Alps. Linda stood in front of the photo, trying to imagine what it would be like to be in the goddamn Alps—clean air, white wine, waking in the afternoons to maybe try a little of the German she sort of half-remembered from college.

“Is someone in there?” The door rattled.

“I’m busy!” Linda snapped. Thank God she’d remembered to lock the door.

There wouldn’t be anyone to yell at her in the Alps—she’d be a foreigner, people would think she was creepy and strange, they’d leave her alone. She could stay in her room all day and watch TV—maybe they had COPS in Austria, or Law & Order. COPS dubbed into German would be pretty funny.

Linda sighed. Really, it was a lot of trouble to cross a goddamn ocean just to be left alone. It was a shame people couldn’t leave her alone here.

There was a bang at the door. “Hey! Is anybody in there?”

Linda looked at the photo of the Alps and shook her head.



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Revelation and Realization

2/10/2015

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A traditional model of writing usually proposes that there are two modes of writing: drafting and revising. I more or less reluctantly stand with the traditionalists here, though in my teaching I tend to see them not as separate elements—and certainly not as separate right/left functions of the brain—but as marks on a broad continuum of creativity, marks that are sometimes quite close together and are always connected through the text on the screen or page and through the mind of the writer. The unity of this connection ultimately (and ideally) leads to the successful completion of a text, word by crossed-out word, deleted sentence and replaced sentence, paragraph, page.

When I was first teaching, I referred to these two states as “Discovery and Exploitation.” But about halfway through my second semester teaching Intro to Creative Writing, I began to have doubts about my terminology. I started imagining shiploads of “discovering” conquistadors coming ashore in Mexico and wiping out the indigenous people. Or toxic open-pit copper mines in Montana. Not something I wanted to associate with writing. Also, “discovery,” whether it’s the discovery of gravity or a star or a bacteria, is most times the identification of something that already exists. And the stories that my students were writing then—that you’re writing now, that I’m writing—are something new, unless we’re a pack of shameful plagiarists.

So I now refer to these phases of the creative process as Revelation and Realization.


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What is to Come!

2/7/2015

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PictureWhat is to come--!!
In the syllabus I give to beginning writers at the start of a semester, I usually have some version of the following statement:

I really do expect the work in your portfolio to be revised. Please understand that revision does not mean merely correcting a few grammar, spelling, and punctuation errors (though that of course is important). Revision means re-envisioning your work—re-imagining it, re-creating it, transforming it into something better than what you started with.

It seems that most students really do often assume that revision consists mainly of copy-editing, of correcting the pesky grammar, spelling, and punctuation errors that plague almost every manuscript. They are wrong, of course, and sometimes resistant to the rather vague terms re-envisioning or re-imagining or re-creating, and have to be pushed—pushed somewhat gently for the beginners and with a bit more urgency for advanced students—toward taking up the necessary challenge of making their writing better and facing the sad fact that their writing, fresh from their nimble minds, just isn’t good enough as it is.

In a letter to a friend, Leo Tolstoy said, "...
What I published previously I consider only a test of the pen and ink. What I am printing now I like better than the earlier things, but it seems weak, needed as an introduction. But what is coming!"

That pile of paper you printed off and I hope you’re gazing so fondly at is merely—adequate. It’s mediocre. Even though it’s a work of genius, it’s just average. The “what is coming!” is the work that you will create through revision, the new work—the new novel, the new story—the true work of genius as it ought to be. The problem then facing the writer—facing you and all writers—is getting the text to the point where it’s good and brilliant enough to abandon, to quit, to say it is finished and ready for publication, a process that takes place in the brain as much as it does on the page.

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Revisions: What Next?

2/1/2015

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So, I’m assuming you’re a fiction writer. And let’s imagine that you’ve finished the first draft of something—a story, a novel. What do you do next?

Here’s an idea: print the whole damn thing out. Print it our and put the printed manuscript in a prominent place and just look at it for a while. Look at it.

The looking feels good, right? It does when I do it, at least. I remember printing off my first novel, That Demon Life, for the first time and I remember what it felt like. I’d printed off chapters, of course, and sections, but one day I typed THE END on the last page (on what I thought might be the last page) and I stuck some paper in my printer and hit print. Took a while (I have a slow but sure printer). When it was printed I put a big rubber band around it to hold it together and I placed it in a nice wooden barstool I’d salvaged from the dumpster and stuck the stool next to my TV and I sat back and looked at it for a few days.

That was a very good few days. I looked at that pile of paper and I knew that I had accomplished something difficult.

But after a few days I knew I had to move on. Like all writers, I had to revise this work of genius. My work of genius.

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    Lowell Mick White

    Author of the novels Normal School and Burnt House and Professed and That Demon Life and the story collections  Long Time Ago Good and The Messes We Make of Our Lives.

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