Annette Snyder runs a cool blog called Fifty Authors From Fifty States. She just put up a post by me. Have a look, then check out all the others.
Category: career
Working
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I tell hopeful, wannabe writers all the time, when they ask that marvelously optimistic question, “what’s the secret to being a writer?” It’s a deceptively simple question, because the answer…well, I give the same answer no matter who’s asking, but the expectations differ from person to person. I suspect most want to know what the “trick” is, like there’s a gimmick, a magician’s sleight of hand, a way around the essential thing, which is hard damn work.
But I tell them all: persistence. Those who never make it are those who quit.
Obviously this begs a few questions. What if they have no talent? What if what they’re writing has no audience? What if they’re subliterate? What if they don’t like to read? (This last, while apparently absurd on its face, is nevertheless a more common fact than you might believe—aspiring writers who don’t read. I’ve met ’em, talked to ’em. It’s like a photographer saying he doesn’t like looking at photographs.)
All of that varies, though. The one single element that binds them all together in their quest is persistence. Persist and you will find out. But if you don’t persist, you may never know.
This is what I do. I persist. I refuse to give up. Granted, I have a bit more reason to be optimistic than most, since I have actually published, but that’s no guarantee that you will continue to do so. The market is a fey beast, fickle and heartless, and has crushed the souls of many a writer before. But, smart as I am, I’m an idiot when it comes to this, and it seems to finally be paying off a bit.
I have signed with the Donald Maass Literary Agency. This is a fairly big event for me. I’ve been shopping for a new agent for a long time. This one finally paid off. (My thanks go out to Scott Phillips, who introduced me to the obviously talented Stacia Decker, who then introduced me to the talented Jen Udden, and my thanks to both for taking a chance on my potential.) My last published novel was Remains, back in 2005—almost six years now.
This is not a sale. But this moves me closer to getting back into print than I was three months ago. Both Jen and Stacia have gone over my work, made substantive editorial recommendations, and allowed me to move forward on these books.
I feel very lucky right now.
But also, I have a lot of work to do. I have already rewritten my alternate history, Orleans, per Jen’s recommendations, and she’s beginning work on the marketing strategy. This morning I talked over The Spanish Bride with Stacia and will set to work on the revisions of that novel in the next couple of days.
I have no problem admitting that I need editorial input. And I like it. When someone who knows what they’re doing tells me “You should fix that” and I see what they mean, I’m delighted. (This has changed over the years. Once, all it got from me was a howl of pain—“but I already wrote that one! I want to move on!“ But persistence teaches you through experience. If it doesn’t, you should find a different career.) With good recommendations in hand, I can make a better book.
So anyway, the bottom line here is that if I am less prolific here in the next few weeks or months, it’s because I’m working. I will update as developments occur.
Between
I completed a massive rewrite the other day and sent it out. Â When I say massive, I mean big, a whole novel. Â There’s a lot riding on this and I find myself fidgety and on edge in a way I haven’t experienced in a long time. Â It was an older book, one I thought (mistakenly, as it turned out) was done, complete, just fine. Â What I found was proof that I need a good editor.
But the work is done and it’s out the door and all I can do now is wait for the yea or the nay. Â Not sure what I’ll do if the answer is…
Everytime I get to the end of a major project, I find myself at sixes and sevens, loose ends need chasing down, and I don’t quite know what to do with myself. Â Formerly, some of this time and excess energy was spent by going to a job. Â That’s not an option now. Â I used to go through a frenzy of cleaning house as well and I will likely do some of that today. Â But later. Â This morning, after breakfast, I opened Photoshop and noodled with a few images. Â Having multiple creative streams is a good thing when you’re in a situation like this. Â The above image is one result and I’ve decided to sandwich this post between two pictures.
Not to be melodramatic, but in some ways I’m facing a turning point. Â I have to do Something. Â Almost 30 years ago I set my goal to become a published writer. Â Much to my amazement, I succeeded, but the effort birthed the desire to do this as my main work, which means I have to keep publishing. Â Whether we like it or not, we need money to live, otherwise I could quite contentedly (I think, I tell myself) write for my own pleasure and use this medium or others to put the work out and not worry about income streams. Â But it’s not just the income and anyone who writes for a living knows very well that this is true. Â After a five year spurt of publishing intensity, things have ground to a virtual halt. Â There are a number of reasons for this, some of them entirely my fault. Â But I have to turn it around and soon or walk away.
I’m not at all sure I can and remain whole.
Of course I have this older art, photography. Â I can, with some difficulty, get a freelance business up and running. Â There’s music, too, although I am years from the kind of proficiency that would adequately supplement my income. Â Tomorrow I’ll be playing guitar at the anniversary party of the business of a friend. Â An hour or so of my ideosyncratic “stylings” as a favor. Â For fun.
These spans of dry time between projects require distraction lest I tumble into a tangle of self-pity and despair. Â It never lasts, I’m not so stoically romantic that I can sustain the dark time of the soul connected to artists denied their opportunity. Â For better or worse, I seek happiness and am constitutionally incapable of living long in depression. Â If not today, then by Monday I’ll be at work on something new or a new twist on something old and I’ll be trying again.
And for the time being I feel like the rewrite just finished is pretty good. Â I have confidence in it. Â I will let you all know if the news is…
Well, whatever it is.
Have a good weekend.
Slogging Through
I’ve been going through this novel like a reaper, cutting and slashing, removing viscera, changing things around. It’s fun so far. The request was to knock between 50 and 100 pages out of the manuscript, which roughly equates to between twelve and twenty thousand words. So far I have flensed the text of seven thousand. This may sound like a lot, but the book was nearly 140,000 to start with, so it can lose a little weight and probably be much better for it.
The weather has been beautiful and since I am working in my front room, by the big picture window, it’s been pleasant. At the rate I’m going I ought to have a new draft of the book in a few more weeks. At which point I have a half dozen other things in need of tending.
Meantime, as well, I’m slogging through Paul Johnson’s Birth of the Modern: 1815 – 1830. It is the estimable Mr. Johnson’s contention that these were the years which gave birth to our modern world, the period during which everything changed from the old system to the new, and, 400 pages in, he’s making a good case for it. Of course, any historical period like this is going to have some sprawl. He’s had to go back to just prior to the American Revolution and look forward to the Civil War (using a purely American point of reference, even though the book is attempting to be global). I can think of worse markers than the end of the Napoleonic Era for an argument like this and he is certainly one of the more readable historians. Occasionally his observations are a bit surprising, but in the main this is a credible piece of work.
I read his Modern Times a few years ago and found it very useful, even though some of his interpretations of major 20th Century events I found surprising. As always, it is necessary to have more than one source when studying history. Interpretation is a bay with hidden shoals and can be perilous. But this one is a good one.
Just updating. Go back to what you were doing.
Rewrites and Retirement
For the next several weeks I’ll be engaged in rewriting a novel, one I thought I’d finished with a few years back. One of the frustrating things about this art is that often you cannot see a problem with a piece of work right away. It sometimes takes months to realize what is wrong, occasionally years. You work your butt off to make it as right as possible and then, a few years and half a dozen rejections later, you read it again and there, in the middle of it (sometimes at the beginning, once in a while at the end) is a great big ugly mess that you thought was so clever when you originally wrote it. You ask yourself, “Why didn’t I see that right away?” There is no answer, really. It looked okay at the time (like that piece of art you bought at the rummage sale and hung up so proud of your lucky find, but that just gets duller and uglier as time goes on till you finally take it down with a sour “what was I thinking?”) and you thought it worked, but now…
This is what editors are for. This is what a good agent is supposed to do. This is the value of another set of eyes.
Anyway, that’s what I’ll be doing. And I have the time because last week I “retired” from the board of directors of the Missouri Center for the Book. I served for nine years, five of them as president. Per the by-laws, after nine years a board member must leave for a time. This is vital, I think, because burn-out is like that manuscript you thought was so perfect—sometimes it take someone else to notice that everything’s not up to par.
During my tenure as president, a few changes were made, Missouri got a state poet laureate with the MCB as the managing organization, and a cadre of new board members revitalized the whole thing. Look for some good programs to come out of them in the next few years.
What I find so personally amazing is the fact that I got to do this. I mean, be president of essentially a state organization. Small budget, sure, but it is connected to the Library of Congress and we do deal with the governor’s office and what we do has relevance for the whole state. I started out doing programming for them and for some reason they thought I should be in charge. Well, that’s a story for another time. Suffice to say, I have no qualifications (on paper) for that position. None. The first year I got the job I characterized my management approach as throwing spaghetti. Something was bound to stick.
It was an education. And I got to work with some very talented people and made some friends who are inestimable. My horizons were expanded and I was able to play in a sandbox of remarkable potential.
The timing couldn’t be better, though. I have this novel to rewrite and, as it is the first part of a projected trilogy, I thought I’d go ahead and finish the second book after I fix the first one. Yes, there are things in the offing which I shan’t discuss right now—as soon as I know anything concrete, you will, should you be reading this—and Donna has graciously cut me another several months’ slack to get this done. She is priceless.
Meantime, I may be posting here a bit less. Not much. But a bit.
Stay tuned.
The Nebs
The Nebula Awards are voted on, and presented by, active members of SFWA. The awards will be announced at the Nebula Awards Banquet (http://www.sfwa.org/nebula-weekend/) on Saturday evening, May 21, 2011 in the Washington Hilton, in Washington, D.C. Other awards to be presented are the Andre Norton Award for Excellence in Science Fiction or Fantasy for Young Adults, the Ray Bradbury Award for Outstanding Dramatic Presentation and the Solstice Award for outstanding contribution to the field.
Short Story
- ‘‘Arvies’’, Adam-Troy Castro (Lightspeed Magazine 8/10)
- ‘‘How Interesting: A Tiny Man’’, Harlan Ellison® (Realms of Fantasy 2/10)
- ‘‘Ponies’’, Kij Johnson (Tor.com 1/17/10)
- ‘‘I’m Alive, I Love You, I’ll See You in Reno’’, Vylar Kaftan (Lightspeed Magazine 6/10)
- ‘‘The Green Book’’, Amal El-Mohtar (Apex Magazine 11/1/10)
- ‘‘Ghosts of New York’’, Jennifer Pelland (Dark Faith)
- ‘‘Conditional Love’’, Felicity Shoulders (Asimov’s Science Fiction Magazine 1/10)
Novelette
- ‘‘Map of Seventeen’’, Christopher Barzak (The Beastly Bride)
- ‘‘The Jaguar House, in Shadow’’, Aliette de Bodard (Asimov’s Science Fiction Magazine 7/10)
- ‘‘The Fortuitous Meeting of Gerard van Oost and Oludara’’, Christopher Kastensmidt (Realms of Fantasy 4/10)
- “Plus or Minus’’, James Patrick Kelly (Asimov’s Science Fiction Magazine12/10)
- ‘‘Pishaach’’, Shweta Narayan (The Beastly Bride)
- ‘‘That Leviathan, Whom Thou Hast Made’’, Eric James Stone (Analog Science Fiction and Fact 9/10)
- ‘‘Stone Wall Truth’’, Caroline M. Yoachim (Asimov’s Science Fiction Magazine 2/10)
Novella
- The Alchemist, Paolo Bacigalupi (Audible;Â Subterranean)
- ‘‘Iron Shoes’’, J. Kathleen Cheney (Alembical 2)
- The Lifecycle of Software Objects, Ted Chiang (Subterranean)
- ‘‘The Sultan of the Clouds’’, Geoffrey A. Landis (Asimov’s Science Fiction Magazine 9/10)
- ‘‘Ghosts Doing the Orange Dance’’, Paul Park (The Magazine of Fantasy and Science Fiction 1-2/10)
- ‘‘The Lady Who Plucked Red Flowers beneath the Queen’s Window’’, Rachel Swirsky (Subterranean Magazine Summer ’10)
Novel
- The Native Star, M.K. Hobson (Spectra)
- The Hundred Thousand Kingdoms, N.K. Jemisin (Orbit UK; Orbit US)
- Shades of Milk and Honey, Mary Robinette Kowal (Tor)
- Echo, Jack McDevitt (Ace)
- Who Fears Death, Nnedi Okorafor (DAW)
- Blackout/All Clear, Connie Willis (Spectra)
The Ray Bradbury Award for Outstanding Dramatic Presentation
- Despicable Me, Pierre Coffin & Chris Renaud (directors), Ken Daurio & Cinco Paul (screenplay), Sergio Pablos (story) (Illumination Entertainment)
- Doctor Who: ‘‘Vincent and the Doctor’’, Richard Curtis (writer), Jonny Campbell (director)
- How to Train Your Dragon, Dean DeBlois & Chris Sanders (directors), William Davies, Dean DeBlois, & Chris Sanders (screenplay) (DreamWorks Animation)
- Inception, Christopher Nolan (director), Christopher Nolan (screenplay) (Warner)
- Scott Pilgrim vs. the World, Edgar Wright (director), Michael Bacall & Edgar Wright (screenplay) (Universal)
- Toy Story 3, Lee Unkrich (director), Michael Arndt (screenplay), John Lasseter, Andrew Stanton, & Lee Unkrich (story) (Pixar/Disney)
Andre Norton Award for Young Adult Science Fiction and Fantasy
- Ship Breaker, Paolo Bacigalupi (Little, Brown)
- White Cat, Holly Black (McElderry)
- Mockingjay, Suzanne Collins (Scholastic Press; Scholastic UK)
- Hereville: How Mirka Got Her Sword, Barry Deutsch (Amulet)
- The Boy from Ilysies, Pearl North (Tor Teen)
- I Shall Wear Midnight, Terry Pratchett (Gollancz; Harper)
- A Conspiracy of Kings, Megan Whalen Turner (Greenwillow)
- Behemoth, Scott Westerfeld (Simon Pulse; Simon & Schuster UK)
I’ve actually read a couple things on this list, but for the most part, as usual, the nominations serve mostly as a shopping list for me. These and the Hugos tell me what I ought to be looking at, at least in SF.
But what is more dismaying about this one is how many of these names I don’t recognize at all! I am woefully out of touch. Granted, I’ve never been one to keep up with what is current, my reading habits mitigate against it (the reason I like to own my books is because I just never know when I’m going to feel like picking one up and, you know, reading it), but I at least used to know who the players were.
I’m not going to sweat it, though. Too much work. I have the new Gene Wolfe, Home Fires, which I’m seriously looking forward to. Also the newest Iain M. Banks, not to mention the second half of Connie Willis’s giant two-parter, Blackout/All Clear.
Anyway, I thought I’d post these for those who may be interested.
Me? No, I never made a final ballot. Preliminary once.
Schools
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I spotted this over at John Scalzi’s Whatever and it brought back some memories.
A woman in Ohio has received a felony conviction for deceptively sending her kids to a school in a district where she didn’t live. Her father colluded in this. The article linked doesn’t go into the reasons she did what she did, but I can imagine some of them, and it would have entirely to do with quality of school experience.
Fifty years ago, my schooling experience—and I phrase it that way because I’m talking about much more than just what you learn in the classroom; it’s a total package, going to socialization and self-image and the whole magilla that a lot of people condemning American public education, depending on their political slant, don’t want to think about—was in the process of being thoroughly fucked up. Had I not been an avid reader at an early ago outside of school…
Not knowing the particulars of the Ohio case, I’ll just talk about mine. I’ve detailed some of this before, but it’s worth going over it again as a reminder.
My birthday is in October. Back in the day, my mother dutifully tried to enroll me in school for the school year during which I would have been five. But at the time of enrollment, I was only four. They refused me. “Bring him back next year,” they told my mother, who tried, I imagine, valiantly to explain the problem, which was that I’d end up functionally a year behind. But the district was adamant. Bring him back when he is five.
So I had a whole year of not going to school when many of my friends were. Not to worry, I didn’t give that much of a damn. I was pretty much a loner anyway, even then, because, for whatever reason, I didn’t quite fit with everyone else.
The following September, we’re back at the school, and this time they accepted me. I entered kindergarten.
And six weeks later, when I turned six, they pulled me and five others who had the same calendrical malfunction out of kindergarten and moved us directly across the hall into first grade.
Our first grade teacher—I remember her vividly, a tallish Nordic blonde with a thin face and large, pale blue eyes—made it clear from the beginning that she regarded the six of us as a nuisance. “Get with one of the others and catch up,” she said. “I’m not spending any time making up for you’re not being here at the beginning of the year.”
I could read already and, if I recall correctly, so could Debbie Blake, but the others? Don’t know. I quickly became absorbed into my own problems, which became legion in my young mind. Within a month I could honestly say that I hated school.
Not just the teacher and the sudden load of curricula which the six weeks of kindergarten had not prepared me, but the whole experience. My new classmates made me feel slow and stupid and began a pattern of torment that last the next eight years. My teacher, who apparently recognized that I was probably above average, began a round of parent-teacher meetings designed, I thought, to humiliate me—“he’s a bright child but not performing up to his potential.” I just didn’t understand. And it didn’t improve. I suspect that nine months of kindergarten I should have gotten bore directly on the socialization I was now forced to “catch up” with in a couple of weeks.
My parents moved during my third grade year. It put me in a new school district. I actually had made no real friends to miss, so it was no big deal to me. But.
The district line ran, apparently, down the center of my street, and that put me in the Grant School district instead of the Shenendoah district. Shenendoah was four blocks away. Grant was a mile and a half. Grant—I did not know this at the time, but my parents did—had a bad reputation. (Shenendoah soon would, but not yet.) I was already obviously having trouble at school from bullying and such and my parents were reluctant to send me to a school, so far away, where the problems might be worse.
But also—and I didn’t find this out until much later—my performance disappointed them and my dad, for one, thought I had a discipline problem. Corporal punishment had been outlawed in the public school system. Dad was a believer in the spanking. My poor grades and lack of attention in class, he thought, were directly related to an inability on the part of the teachers to effectively discipline me. So, public school was probably not where I belonged.
I was summarily enrolled in a private school, Emmaus Lutheran, about ten blocks away, and I entered the fray midway through third grade and there I stayed through eighth.
My performance did not improve. Nor was I ever spanked for poor discipline. That, it turned out, was not the problem. (The bullying soon resumed and continued. Enough about that.)
I continued reading on my own and by a curious quirk of circumstance my dad began a long stretch of dinner table dialogues with me that can only be described as philosophical primers—my parents were lapsed Mormons, I was attending a Lutheran school, dad was determined I not swallow the party line whole, and we argued and debated our way through the rest of my grade school, all in an attempt to keep me from being brain washed.
My next school problem came my senior year of high school. High school improved somewhat. Because of the round of different teachers, my performance in one class did not poison it in another, and I could be selective about what I chose to pay attention to. My grades went up because, frankly, I was more interested. The bullying had stopped (although I had more fights my Freshman year than the previous two) and I began to acquire the armor of the loner who will not be messed with.
Roosevelt High School was what could best be described as a blue-collar industrial school. It had been built and its traditions established when the expectation was that most of its graduates would end up driving trucks for Anheuser-Busch or going into some other local industry. It was struggling to come to terms with a changed mission during the Sixties and hadn’t quite succeeded. I became deeply fascinated with photography. They had no course in it. I was already interested in writing, but the Journalism class was one year and only half a credit. In other words, both my fields of interest were pretty much unsupported.
Senior year, I entered a work-study program which gave me a morning of class work and let me off to work part time in the afternoon. My very first job ever, acquired over the summer, didn’t survive past October. I “contrived” to game the system to stay in the program and pretended to have a job. I was also cutting a lot of classes and days that year—sheer, unadulterated boredom (plus I think I had mono that year, but since I never went to the doctor I can’t say for sure, but it was pretty awful). In any event, because I’d taken senior English in summer school (to avoid getting a particular teacher who would undoubtedly have flunked me for personal reasons) and because I had carried a larger course load (somehow) the previous year, I had more than enough credits to graduate that January, getting out early. I plead lethargy for not having done it. I’d finally gotten a situation where I didn’t mind it so much and didn’t have anything else to do.
But. I answered a job ad at the state hospital in February. It was for a photography trainee. Note—this was 1973. The job would have been under the resident photography at the hospital as an apprentice. I would have been trained to do portraits, copy work, photomicrography, color lab work, the whole bit. The guy loved me. Saw my work, the interview went like a dream—and the starting pay was four dollars and hour. Trust me, for an 18-year-old at the time, this was a fortune.
The only hitch was I didn’t have my diploma. I explained the academic situation and begged a grace period so I could get it, since I had fulfilled my qualifications. I went back to school to do that and was told No. I had not taken that option in the fall, I was stuck with completing the school year.
I begged. Both of them. The school wouldn’t yield, the photographer refused to hire me, telling me that I really needed that diploma and that he’d be doing me a disservice by allowing me to quit school without it.
Bureaucracy. I was, basically, fucked.
Who knows where that might have led? A path cauterized. I do not regret it. I’ve had a ball living the life I’ve led. But I still get incensed over schools standing on their petty rules at the expense of a child’s educational experience. It makes their bookkeeping easy and can often result in damaging the child’s future.
Was the photographer right? I have never been required to prove I graduated high school, anywhere, by anyone. They take your word for it. In my field, it was what you could do that mattered more than where you’ve been educated.
So I’m thinking this woman in Ohio was trying her best to meet some impossible requirements. Depressed housing market (let’s assume) and she couldn’t sell her house in order to move, the job she had was where she lived, the school she wanted her children in was in another district…not to put to fine a point on it, but all the opponents of vouchers and charter schools should be aware that this is part of the reason a lot of people are looking at those options as agreeably as they do.
And just as a side note, sort of tangentially, consider that idiot governor in Texas recently pronouncing on what he sees as “frivolous” educational options. To quote Governor Perry:
Well, there is a lot of fat to cut from our public schools, especially those in our biggest urban areas like Houston and Dallas. I am concerned that some the highly diverse Magnet public schools in this city are becoming hotbeds for liberalism. Do we really need free school bus service, Black History Month, Hispanic Heritage Month, Asian-Pacific Heritage Month, ESL, special needs and enrichment programs like music, art or math Olympiad? I think we should get back to the basics of the three Rs, reading writing and arithmetic. I mean when is the last time a 6th grade science fair project yielded a cure for a disease?
It doesn’t work well, so let’s fuck it up some more, shall we? Take all the stuff that’s worthwhile and cut it, so we can educate a bunch of truck drivers, processed food workers, and cheap laborers who can compete with illegal immigrants. (I’m being sarcastic there, please note.)
You know what I would do if I were king? I would change the entire school system to this: fund it at at least half the level of current military spending. All schools would be open 24/7. Kids could go at any time and find classes in session. Kids could go to any school they chose (within reason). I would also make all schools safe havens, staffed with paralegals, nurses, and law enforcement so kids from abusive homes could feel protected if they had to get out. I would pay whatever it took to feed a child’s imagination. I would also extend that to make parents mandatorily involved and provide counseling for those parents who didn’t know what the hell they were doing. The schools would be geared entirely for the benefit of the children, not the parents, not local businesses, and certainly not the bureaucracy. I would put advanced curricula in the primary schools. A lot of kids might not “get it” but there will always be those who will catch on quickly, even kids from backgrounds most people might think unlikely. But I would expose all these kids to meaty material from the get-go instead of waiting till they get to college—if they get to college, which for many of them might be too late. I would bar all recruiters of any kind from the schools and I would bring in a regular round of professionals in as many fields as I could to do workshops.
That’s what I would do if I were king. We’re nickle-and-diming out kids into stupidity and penalizing some parents who try to do the right thing for their children. For every educational worker who pushes the envelope to improve the system, there seem to be a hundred know-nothings bitching about the cost and arguing over what’s being taught. This has got to stop.
Okay, end of rant. I feel marginally better.
A Little Bit About Writing
I’ve been nattering on about politics and related matters for a while now. It’s crazy-making because no matter how much sense you might make, or think you’re making, there are a lot of people who basically say “I don’t care, I want it my way!” and ignore everything else.
So I thought I’d talk about writing.
I’ve had a hell of a week in that regard. Let me explain.
Many folks already know that I had a major (I thought) computer issue earlier this week. It happened this way. During the really cold months of winter, rather than turn on the space heater I have in my office, I move my writing upstairs, on a laptop. The change of venue often kicks loose some ideas, it’s a bit sunnier, and we save on the electric bill. No real inconvenience, I basically save my work to a floppy (yes, a 3.5 inch floppy, Virginia, they are still made) and carry the floppy back downstairs to transfer the file to my main computer when the story is ready to either print out or submit, at which point I save it to the main hard drive and my handy external hard drive. So a given file, in this scenario, is saved in four places.
Monday morning was a perfect storm, so to speak. I’d been working on a novella for about three weeks, a major rewrite, with someone waiting for it, and I finished it Sunday. Monday morning, early, I made a couple of last-minute grace note touches, saved the final to the floppy, then told the laptop to save it all to its hard drive. I took the floppy downstairs for the transfer.
First problem. Cannot open file. The disc is corrupted. I tried a couple of things, but no go. So I grab a clean floppy, head back upstairs to make a new copy, only to find on arrival that the laptop is dead. Inert. A few pounds of useless plastic.
Now, this is an ancient laptop, as these things go. It was a gift from a friend to begin with and I use it seldom, although I have written most of two whole novels on it. (When our first dog, Kory, was dying, I wrote my one and only Terminator novel on it in the living room, next to her, to keep her company. I know, multiple ironies in that.) It wasn’t new when I got it—it had Windows 95 on it—but it’s had a cushy life and hasn’t given me any trouble. Till now.
Panic, as they say, ensued. After several more attempts to open that damn file, I resorted to profanity and insane rage against a universe that seemed out to get me.
I posted my problem on Facebook and got the first of many bright glimmers. People gave advice (although a lot of it centered around saving my work online, which requires technology I do not have with that particular laptop—it’s not connected or, in any practical sense, connectable), condolences, etc. (Thank you all again, it was very kind and I needed the chin up boost.)
A couple of friends called to offer their services. Suggestions were made to call the Geek Squad.
I called the Geek Squad, but the $300.00 service call fee stymied me. I simply don’t have that kind of money just now to spend on spec, on a story that might not sell in the first place, etc. And we are talking about one story. Everything else was backed up.
One friend offered to unship the hard drive and see about transferring its contents to another P.C. I was set to do this—I would have dropped it off tonight—when another friend called to discuss it and made a simple suggestion. “Did you pull the battery?”
“It’s been plugged into the wall all this time, what difference would that make?”
“Well, most laptops boot from the battery, even if they are hooked to AC. Pull the battery and it might boot directly from AC.”
I pulled the battery. The thing came right back on. Problem solved. (Thanks again to Justin Olson.)
I have two typewriters in the house. I have my original Remington Noiseless and I have an IBM Selectric, which needs minor repair (which I now intend to get). I can go right back to the so-called stone age if I feel I must, even though more and more markets are going to strictly email submissions. But on paper, typed out, I only have to worry about fire or flood to lose the manuscript.
However, I won’t go that far yet.
So yesterday, I went back to the gym for the first time in two weeks (working steadily on that novella, in the groove, skipping all nonessential activity) and came home intending to get ready for the next story, and I get a rejection in the mail. Snail mail, yes, from one of the few magazines still doing it the old fashioned way. I had submitted the problem novella the day before, so I had made my goal of getting it finished and out the door before another rejection came in.
Now I am sitting here procrastinating by writing this. I have a piece of fiction upstairs that has been through three complete drafts already and I am about to gut it totally and do it from a completely different character’s point of view. Why? Because it hasn’t been working. It doesn’t sing, it can’t dance, even though all the parts are there. It is not wonderful.
Two things when a story does this—either you have begun it in the wrong place or you are telling it from the wrong perspective. The first is tactical. The second is psychological.
The most dramatic approach to story includes telling it from the perspective of the one or ones who have the most to lose. The ones who are in the greatest danger, the ones risking the most, the ones who by virtue of just showing up will be in the heart of the conflict because the conflict is theirs. This is hard to do. It’s natural to avoid pain and discomfort and writers are no different, so often we pick a main character who is safe or at least safer than the others. There’s a comfort about this character not getting badly hurt. But it makes for flaccid fiction.
So all week, given the mood I was in, I’ve been thinking about this story as it has been written and trying to find a way to make the main character really hurt. And everything I come up with feels like artifice.
This morning I wrote the first line from the viewpoint of another character. The one who really has the most to lose.
I then came here to write this, because I can already sense the knots I’m about to twist my psyche into writing about this guy. And I’m avoiding—
What? Pain? Not mine. His? Well…
It’s kind of like bungee jumping. You know it’s going to be exhilarating, but bringing yourself to take that first step can be very difficult. Stepping off into nothing, trusting that the way down will bring you what you want—that’s counter intuitive. Hell, that’s scary.
But once you step off…
Time to go back to the edge.
On The Road
Tomorrow morning, probably before the sun is up, we will be on the road to Madison, Wisconsin. We’re going to attend a little convention called MadCon 2010. When you click on the link you will see a note explaining that the guest of honor, Harlan Ellison, will not, due to illness, make it. Well, that’s changed, apparently. Harlan says he is feeling up to it and will be getting on a plane tomorrow and will appear.
Last time we saw Harlan was in 1999, at a convention called Readercon (which is a genuinely spiffy excellent convention because it is ALL ABOUT BOOKS—no movies, no anime, no costumes, none of that, just BOOKS) and he was in great form and we had a marvelous time.
By a series of odd coincidences, about two years ago, I became better acquainted with Harlan. We’ve spoken on the phone and written to each other a few times and while it would be the height of hubris for me to claim that we are friends, we are at least on first name friendly terms. (It’s funny how, with certain people, sometimes you seem to have to “save up” stuff to talk about before calling them, because what you very much want not to do is bore them. I’ve never quite known how to recognize the point past which that concern no longer matters.) I wrote a piece about the documentary, Dreams With Sharp Teeth, both for this blog and cross-posted to Dangerous Intersection. I was impressed with the film and have always been impressed by its subject, so I took a few minutes to alert others to its existence.
Much to my dismay, Harlan got word to me that he had seen it and wanted to thank me personally. I called him, we talked, we’ve conversed on occasion since. I’ve been looking forward to this trip for over a year.
Naturally, when word came down that he might not make it, we were bummed, but still intent on going. The news today is heartening, to say the least. I will write about it when I get back.
I’m doing some panels at the convention, a couple of them with a good friend, Allen Steele, with whom I’ve done far too few panels since we met way back in the early 90s. Others will be there that I look forward to seeing again or meeting for the first time. (The estimable and excellent Gene Wolfe will be there.) But even so, I’m going as a fan. Harlan’s work has meant a very great deal to me. He is unique. Worth a read, to be sure.
So till next week sometime…adieu.
ConText
Returned home yesterday, around two P.M. Scads of emails in the hopper, mail in the box, laundry to do, a dog to pet.
I had a good time at ConText. The Doubletree where it was held was in a a kind of commercial court with several good restaurants and a multiplex movie theater (which I did not go to). It was a smallish con with some good guests (Toby Buckell, Lucy Snyder, Paul Melko) and a decent program track. More about the books than many cons with which I’ve become familiar, which is refreshing.
Diana Dru Botsford, who serves on the Missouri Center for the Book with me, was able to premier her first novel at the convention. Four Dragons, a Stargate SG-1 novel. Watching her, I was envious. The excitement of having your first novel out is unlike anything else.
I was able to link up with my good friend Tim Esaias. He taught workshops almost all weekend, so we didn’t visit as much as I’d liked, but it’s always good to see Tim. We now have something that I do not believe previously existed—a picture together.
I’ve known Tim now for…23 years, I suppose. He very early on encouraged me to continue writing. He’s been a solid critic, a good editor, and a terrific friend. He’s teaching now himself, at Seton Hill in Pennsylvania. Diana was one of his students.
Tim is one of the Good Ones. Those who know him understand what I mean. Occasionally such people should be acknowledged. Tim helped me. Effectively.
Enough of that, now. Time to go back to work.