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Ordinary Horrors

I Answer Some Questions About Writing V

10/23/2020

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All of the answers, none of the questions....
  • ​I think an occasional ALL CAPS might work. Italics are the usual way of emphasizing.
  • Be careful—readability is very important....
  • Guilt won't get your book written—it just makes you feel bad.
  • Find something that makes you feel good—knitting, fly fishing, basketball, old movies, video games....
  • The process of learning something is for me the best part of any activity....
  • Playlists for books are a great idea….
  • Do it.
  • The "real" person will be transformed by the magic of imagination and the exigencies of the story into a "fictional" person.
  • My response was pretty basic—don't base your characters on people who will be hurt.
  • Your life as you live it is your most precious writing resource. Don't be afraid to use it.
  • What does your focal character see? There's your description—maybe, if it's needed
  • I actually think Tolkien was doing this….
  • The best novel? Oh—War & Peace, by my boy Tolstoy.
  • You'd don't want your best writing buried where no one will notice it!
  • Setting is always important, unless your characters are floating around shapeless in a formless void. They are some place.
  • Remember—the BODY is also a setting....
  • Probably The Great Gatsby, for the punctuation.
  • Yes—I am inspired by em-dashes and commas!
  • I may have talked about this before....

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Shelby Hearon, my first creative writing teacher: "It's never the book in your head."
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Larry Heinemann, my last creative writing teacher: "Revision is where the money is."

  • ​You can tag the dialogue through action or setting, too.
  • What are your characters doing while talking? What are they seeing?
  • Read it backwards, aloud.
  • This removes the context of the paragraph, and you can see (hear) each sentence in all its glory/ignominy.
  • Fifty-one years, ha!
  • You have to be persistent.
  • I think foreshadowing is best accomplished as an aspect of revision.
  • In your first draft, going forward, it's more important to just get to the end.
  • They disappear into the background—which is what we want.
  • Obvious isn't always bad, and what's obvious to you—the author—isn't necessarily going to be obvious to the reader....
  • Are they talking on the phone or face to face?
  • They could be walking, shooting zombies, fishing, watching tv, washing dishes, sitting on the can, shopping, driving, in church, in a meeting, fighting—they could be doing whatever it is people do....
  • Also—it's important to think: are they actually listening to each other?
  • I mean, really—how many times do people actually fully pay attention to one another?
  • Good question! I'm trying to figure this out myself!
  • Try going for empathy.
  • No one is really frightened.
  • I would keep moving forward and get the story written and then look critically at what you have.
  • Do you really need a backstory with past relationships? Maybe—but maybe not.
  • You take something you've written that has a lot of problems (all texts are flawed) and then you fix the problems.
  • It takes time and attention and is really rewarding.
  • I think the aging process has left me more easily distracted than I once was.
  • The problem with writing is that life gets in the way.
  • How much time can you afford to spend on writing? For most of us—not enough.
  • Having a roof over your head and food in your belly is probably more important than writing!
  • A lot of writers do practice writing….
  • It's great to treat yourself when you accomplish something! Everyone needs to do this!
  • For me—champagne and turkey legs!
  • Many years ago in a class like ours I wrote a story I thought was pretty good. But I know now it was a good student story....
  • I know for a fact that at the time I wrote it, I didn't know what the heck I was doing….
  • There are any number of writers who have gone down the road of pomposity.
  • The best writers—the best revolutionaries, the best eye doctors, whatever—are informed by a sense of humor.
  • My advice--always be aware of the absurdities and ridiculosities.  And embrace them.
  • My whole life up to the point I finished...?
  • The difference is—LIFE.
  • A LOT OF TIME.
  • Just keep going down one path or another until you find the right path....
  • DO NOT DELETE ANYTHING! Keep all your variations. Trust me—you have room on your hard drive.
  • Each round of revision I focus something else—dialogue, setting, transitions, colors, textures, whatever....
  • Write a story with a strong beginning.
  • From looking out the window, from the things I see in life. From dreams. From snippets of people talking that I overhear. From things I learn....
  • I look at a situation and ask, "What if...."
  • There are often big big BIG differences between "Truth" and "Fact."
  • The highly personal voice is always very engaging. You can do a lot with a memoir
  • Do you have a citation for that?
  • (I could also be stupid!)
  • Borders are interesting—they are where things come together, and where things come apart....
  • Life gets in the way. You just have to do the best you can with the time you have....
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Another Stupid Job: Wolfe Nursery

10/16/2020

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#wolfeWolfe ad, 03/13/1982
​Several years ago I was on an AWP panel chaired by the late great Larry Heinemann. The theme of the panel was work and jobs, and how these basic human endeavors affects and influences us as writers. Larry thought it was a good idea to introduce the panel by listing each job the panelist had had in their lives. The panel was at 800am (insane!) and I remember sitting there hungover and tired and feeling more and more depressed as Larry introduced me and read through the list of 17 jobs I had given him. I sat there thinking I have made some bad fucking life decisions….

(Then I got up and gave the worst presentation I’ve ever given, but that’s another story…).

(And of course bad life decisions make for good literature, maybe).

So, anyway—this is one of those bad life decisions. Wolfe Nursery. I worked at the south location for about four months in 1982. I sold shade trees, unloaded trucks, did whatever the stupid bosses told me to do—I even mopped the floor once (a fiasco).

I sold a magnolia tree once—got a $30 commission. Yay! Real money for broke-ass me.

Much of my time was wasted unloading trucks of fertilizer and peat moss. There was a competing nursery just on the other side of Ben White and we used to denigrate their manhood because they used forklifts to unload their trucks. We used our backs! We used brute strength!

A semi would back into the soil additive section, and three guys would get to work—one up on the flat bed of the truck, one in the middle, and a stacker on the end. The truck guy would peel the 40-pound bags of sheep or cow shit off the pallet (peel because the plastic bags would stick together) and toss the bag to the guy in the middle, who would spin and toss it to the stacker, who would arrange the bags into an orderly, stable stack. The middle job was the best, I thought—you could sort of catch the bag in mid-air and flip it to the stacker without too much effort. The truck position was the worst—you had to pull those bag up and throw them.

Three of us on a job like that on a fully-loaded semi? Five or six hours.

And at the end of a shift—yeah, you smelled like you’d been working in the soil additive section.

Selling shade trees was better. Or selling roses! Or just about anything else.

I see in this ad the little box for “spring bulbs.” Yeah, I remember those fucking things. There were crates and crates of bulbs, and each bulb was in a little cellophane packet closed off with a tiny tight rubber band. It was my task, one rainy afternoon, to remove those rubber bands. Hundreds of them. For four hours or so. I was cross-eyed by the time I finished.

After work I stopped by the Deep Eddy for a beer or ten, and I was complaining about my day. Peter Nye said, “You realize that on the other end there was some guy putting those rubber bands on, right?”

And I did realize that! I had actually spent the cross-eyed afternoon thinking that we were all victims of the vast capitalist conspiracy! That this work was meaningless, that my labor would never be adequately compensated….

I was happy when they laid me off in May.

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Yeah, look at it.
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Alamo Bay = Total Success

7/27/2013

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PictureView from the venue: Sunset over Austin
It’s been a week now since Alamo Bay Writers’ Workshop, and I’m going to brag: it was a total total smashing success!

The participants were skilled, learned, funny, articulate, cool, and possessed of touching poems and stories. Fellow instructors Diane Wilson, Larry Heinemann, and Lee Grue were terrific. Pam Booton's organizing skills were/are incredible. The venue was fantastic.

Everything was great. And next year will be even better.


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These people are waiting for me to say something....
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Alamo Bay Writers' Workshop and Summer Fun

7/5/2013

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Alamo Bay is two weeks away right now and you all need to go to the website and register.

          Alamo Bay Writers’ Workshop: http://www.alamobaywritersworkshop.com/


It’s going to be really good—Environmental Activist Diane Wilson will be teaching a creative nonfiction session, National Book Award-winning novelist Larry Heinemann will lead a fiction session, NEA Fellow Lee Grue will teach poetry, and I’ll lead a fiction session. We’ll be in Austin, Texas July 19-21.  Register--

Today I have been watching the people next door. It’s a long holiday weekend—and the neighbors are having fun! They were out on their boat all day, then came back and changed clothes and went out to dinner.

I’m an academic and a writer. Summer is a work time for me—I am revising one book and beginning two (!) others. I made corrections on the proof of Professed and I'm thinking of ways to promote it. Plus thinking about the classes I’ll teach in the fall at PSU—plus thinking about the session I’ll lead at ABWW.

But…all that’s fun, too. That's what summer is for.


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Doing some last revisions on this book. It's almost ready to send out....
1 Comment

Alamo Bay Writers' Workshop

5/21/2013

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PictureDiane Wilson....
I will be leading some sessions at Alamo Bay Writer’s Workshop in Austin, Texas, from July 19th to 21st. This is going to be a really good and worthwhile--and fun--event.

The other instructors are National Book Award-winning novelist Larry Heinemann, environmental activist/memoirist Diane Wilson, and award-winning poet Lee Meitzen Grue. Dr. Hazel Ward will moderate afternoon discussion sessions.

The workshop will be devoted to sparking writerly creativity—how to find ideas, how to get writing started, how to stay focused, how to get finished. Every participant will have a chance to work with each workshop leader, exposing the participants to a variety of ideas and techniques.

The venue will be Rio Far Niente, located on 36 acres just east of Austin, overlooking the Colorado River, pecan groves, and the downtown Austin skyline. Instructor readings and music by Claudia Voyles and Lee Edwards will kick off the weekend Friday evening. Cello music by Randall Warren will accompany Saturday night entertainment. Our own Austin favorite bookstore, Bookwoman, will be selling books.  The cost is $325 per workshop participant….

You all need to atten
d!

Alamo Bay Writers' Workshop, Austin 2013


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Cursing

6/7/2011

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When my friend Larry Heinemann was first hired here at A&M, he gave a reading from his wonderful novel, Paco’s Story—and, you know, there are some curse words in it.

Some of my students who attended the reading were shocked—shocked!—by the language of the novel.  And we had a pretty good discussion the next day (hampered a bit by the fact that the classroom chairs were bolted to the floor, and the young scholars in the front of the room had difficulty twisting around to face the YSs in the rear).  Some of the students were practical—“How do you think soldiers talk, anyway?”—while others were idealistic—“You don’t hear President Bush talking that way!”  And a couple of other students came up with, “Well, he must not have a very good vocabulary.”

Now it was my turn to be shocked!  (Well, I was already a little bit shocked by the comments about President Bush).  The poor-vocabulary line sounds like something one of my great-great 19th century schoolmarm aunts might have said.  My students probably picked it up from their moms, who got it from their moms, or whatever, part of a line of smugness going back who knows how far back.  The line probably made little sense in the 19th century, and it certainly makes no sense now.  These words are just words, and sometimes they are the right words.

So I pondered on it a little, and the following semester I came up with a little lecture on curse words—what they really mean, how they’re used, how they are and sometimes aren’t offensive—based partly on a chapter from Steven Pinker’s The Stuff of Thought, and partly on my own experience with cursing.  It’s been one of the most popular things I do in class.  When I was preparing to go on a job interview last spring, I asked my students what I should do for my teaching demonstration—and a majority of the class recommended the Lecture on Cursing.

Uh, no.  Because there are times when curse words are very much not not not the right words…as we see in this article about a California track team which was penalized and lost the state championship after a pole vaulter said something, uh, nasty. 

I remember a high school football game where the other team scored and one of our guys protested—“Hey, ref, he swore!”  But our ref, unlike the California officials, was properly unmoved.  A sporting event is not necessarily an inappropriate place for cursing....

Anyway, writing well—and thinking well—is a matter of choosing the right words and knowing your audience and all that.

And here’s an Ode to a Four Letter Word, by Kathryn Schultz….


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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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