Category Archives: Writing

Victory to the Outsiders?

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In 2009, 288,355 books were traditionally published in the US, and 764,448 were self-published.  The numbers for 2010 were similar, though I don’t have the exact figures handy.  A million new titles a year.  No wonder my book queue does not grow any shorter!

As the sheer quantity of books in print grows, the amount of advice for writers seems to grow too.  Four smiling faces stare at me from the cover of the new Writer’s Digest, next to titles of the following articles I will find inside (this is their “10” issue):

  • 10 Markets Open to New Writers
  • 10 Writing Myths Busted
  • 10 Ways to Start Scenes Strong
  • Bestselling Secrets for 10 Top Genres
  • 10 Ways to Stretch your Creativity
  • 10 Tips for Beating the Fear of Rejection
  • Take your Writing on the Road:  10 Inspiring Destinations.

Last week at the gym, I had a minor epiphany.  The talking-heads were doing their thing on CNN, and I realized the TV financial advisors and those who offer writing advice have a lot in common.  They can inspire; they can stimulate the flow of ideas; at the right moment, they can spark individual creativity, but no one who depends on them, who tries to practice their often contradictory advice is going to do better than average in either arena.

After my workout, I took a book out to the pool area for a read and a swim.  Summer poolside reading is a pleasure I jealously guard.  No reading to self-educate.  This is where I let stories carry me away.  Where I forget the million titles a year for the one I hold in my hand.

This time at the pool, I was rereading passages from the wonderful, Emerald Atlas, by John Stephens, that I reviewed here:  https://thefirstgates.com/2011/06/08/the-emerald-atlas-by-john-stephens-a-book-review/.  This time, because of my earlier thought train, I noticed all the rules Stephens broke in his novel.

Common “wisdom” says that not only is the omniscient viewpoint passe, but it confuses middle-grade readers – and yet here it was, masterfully executed and just right for the story.  Similarly, the consensus on the proper age for middle-grade protagonists is 12, yet  Kate is 14.

Fortunately for us, John Stephens had a successful career writing for television before he started his novel, so I’m guessing he hasn’t read how-to articles for writers in quite a while.  For here is a built in contradiction – if a million books are published each year, and the brass ring goes to those that step”out of the box,” we are not going to get there by heeding advice on how to get into the box!

I want to be very clear:  I am not disparaging learning one’s craft – badly handled omniscient viewpoints aren’t pretty.  What I am saying is that if we slow down and listen, won’t our stories tell us what they want?  If stories come from deep in the part of ourselves that dreams, isn’t it somewhat rude to meet them with an armful of rules?

I find myself wondering how many truly original novels were written by outsiders, people who bypassed the whole seductive promise of 10 Ways to Break Into Print.  Suzanne Collins, author of The Hunger Games was a TV writer like John Stephens before she wrote her novel.

Stephanie Meyer had not even written a short story before Twilight and had considered going to law school because she felt she had no talent for writing.  The idea for her vampire tale came to her in a dream, and she started writing because, after the birth of her first child, she wanted to stay at home and be a full time mom.  Echoes of the now-famous story of J.K. Rowling.

My cousin knew Jane Auel as a neighbor in a wooded Portland suburb, and never dreamed she was writing Clan of the Cave Bear at the kitchen table.  I doubt that the Inklings tried to tell Tolkien the proper age for Hobbits – 30 rather than 40.

What I am suggesting here – mulling over aloud, actually – is that all our lists of 10 Ways to do things are far less important than finding ways to remain Outsiders.  Outsiders who can dream without any fetters.  It isn’t easy, as anyone who even attempts it discovers, for the promise of an article or a friend’s advice on how to break into print can be as seductive as the lotus blossoms to the men of Odysseus’s crew.  Yet I am coming to believe it’s necessary to learn how to drop it all for extended periods of time.

For as the great Japanese teacher of Zen, Shunryu Suzuki said, “In the beginner’s mind there are many possibilities, but in the expert’s there are few.”

Midnight in Paris: A Movie Review

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Midnight in Paris, written and directed by Woody Allen, is a delightful romantic comedy and another of Allen’s meditations on the relationship between art and life, this time with time-travel in the mix.  Want to see Ernest Hemingway speaking exactly the way he wrote?  Kathy Bates holding forth as Gertrude Stein?  Want to see an insufferable pseudo-intellectual get his comeuppance, and the right couple go walking off together in Paris in the rain?

Gil (Owen Wilson), a successful screenwriter visits Paris with his fiance, Inez (Rachel McAdams), and her family.  Gil dreams of moving to Paris to finish his novel about a man who opens a nostalgia shop.  Inez wants her parents to help her talk sense into Gil and get him to settle down in Malibu.  Gil wants Inez to walk with him in Paris in the rain.  Inez tells him not to be silly, they would get wet.

After a wine tasting with Paul (Michael Sheen), the sort of pompous know-it-all that Allen loves to parody, Gil decides to walk home by himself.  At the stroke of midnight, an old-time car pulls up beside Gil.  Revelers invite him in and transport him to a party where he meets F. Scott and Zelda Fitzgerald, who introduce him to Hemingway, who takes him to Gertrude Stein, who agrees to read his novel.

Even Inez notices how strangely Gil begins to act – sequestering himself to write by day and taking long walks at night.  He tries to demonstrate how he travels into the past, but she stalks off just before midnight and misses the car when it pulls up.  Gil meets Pablo Picasso and his beautiful mistress, Adriana (Marion Cotillard), who instantly captures his heart.

While shopping for furniture with Inez, Gil meets a sweet young antiques dealer, Gabrielle (Lea Seydoux), who shares his love of the 20’s and Cole Porter.  He discovers a battered copy of Adriana’s diary and finds a loving passage describing himself.  Returning to the past, he confesses his love to Adriana, who has left Picasso.  That night an ancient coach pulls up to carry the pair to her Golden Age, La Belle Epoque.  They stop at Moulin rouge and meet Toulouse Lautrec, Degas, and Paul Gauguin.

Adriana begs him to stay, but as Gil sees the famous painters dreaming of the Renaissance, he sees through his Golden Age illusion and decides to return to his present.  On the way, he stops off to see Gertrude Stein, who has finished his novel.  She likes it but thinks it needs a touch of the supernatural.

Back in his own time, he confronts Inez about her affair with Paul (Hemingway brought it to his attention).  She and her family leave.  Gil is left by himself in a storm, on his own, in the “ordinary” streets of Paris – which might not be so ordinary.  He runs into Gabrielle who loves to walk in the rain and says she would like it very much if he walked her home.

My brief description does not do justice to story and all the whimsical sub-plots – like the detective that Inez’s father hires to follow Gil, who makes a wrong turn and winds up lost in the court of Louis XIV.  This is a delightful movie.  If the story seems at all intriguing, I guarantee you will laugh out loud during the movie and walk out with a smile on your face.

Writer’s Digest Monthly Short-Short Story Contest

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In addition to a number of annual contests, Writer’s Digest hosts a monthly short-short fiction challenge.  They provide a prompt, often just an opening sentence.  Interested writers submit a story of 750 words or less.  The WD judges select five finalists, and the winner is chosen by votes of registered members of the Writer’s Digest forum.  You need to register for the forum, but once you do, you can read the current finalists as well as the stories of past winners, which is an education in itself. There is no money involved but winnning entries are posted in the print magazine and on writersdigest.com

http://writersdigest.com/YourStory/

I had the notion that I could never write this kind of story until last fall, when I really needed a mini-vacation from my major project.  It was mid-October so my thoughts turned to ghosts, and over the next few months I wrote several very short stories.  Now I find them rewarding, like quick sketches, like a way to test ideas or try out another genre.  A chance to visit Mars, or Paris, or Hoboken.

Save the link.  One day it may be just the change or breath of fresh air you’ve been wanting.

Summer Writing Contests

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It seems like the “contest scene” picks up steam during the second half of the year.  I know there are round-the-calendar listings, but I tend to jot the URL’s on postIt notes and lose them, so I mostly wait for the listings to come to me.  Here’s one from the Gotham Writer’s workshop:  http://tinyurl.com/3zbt3op (contest listings near the bottom of the newsletter).

Of note is the Zoetrope All-Story Short Fiction contest:  5000 word limit, all genres, $15 entry fee, multiple entries fine, prizes of $1000, $500, $250, and the top ten entries will be considered for representation by several literary agencies.  The deadline is Oct. 3, 2011.

There is also a contest for train stories between 2,000 and 20,000 words long.  There are two contests for non-fiction, one for screenplays.  In celebration of the 1950’s Sci-Fi Magazine, Galaxy there’s a contest for novellas between 15,000 and 20,000 words in length to be published in ebook format.

Unfortunately, some of the deadlines have passed, and others are only good through July 4, but there will certainly be more opportunities, especially for writers who like short fiction.  I’ve read several articles saying that while some of the print magazines that featured short fiction have folded, others are popping up in online form.  Let’s hope so.  This is something to watch.

About Branding

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In response to my comment yesterday about writers “building a platform,” my wife, Mary, sent me a gem that had popped up on her Facebook page.

Washington Post columnist, Gene Weingarten wrote a hilarious and scathing article called, “How ‘branding’ is ruining journalism:”  http://www.washingtonpost.com/lifestyle/magazine/2011/06/07/AGBegthH_story.html

A journalism student had written to Weingarten, as part of her thesis research, asking how he built his brand.  His reply was short and to the point:  The best way to build a brand is to take a three-foot length of malleable iron and get one end red-hot. Then, apply it vigorously to the buttocks of the instructor who gave you this question. You want a nice, meaty sizzle.

The conditions that Weingarten describes in journalism – a financially-driven battle for “eyeballs” – affects traditional publishing as well, where writers are urged to “market themselves like Cheez Doodles.”  He cites Snooki as an example of publicity run amok.

Read it and weep.  Or better yet, read it and laugh.  Sometimes the two responses are not so far apart!

A Year of Blogging

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Snoopy writing

During high school and college, I tried to keep journals, because that’s what writers are supposed to do, but I never got too much traction writing only for myself.

Far more important were the letters I wrote to several close friends during that time.  You could say I learned to write because of them, for they really encouraged me, and an appreciative audience was all it took to turn on an incredible flow of words.  I wrote page after page, jotting down ideas as I tried them on for size, and things that just came to me in mid-sentence.  What kept me going was the thrill of knowing someone wanted to read what I had to say.

I think you can see where I am going with this…

Fast forward a few decades and in June, 2010, I signed up for a day long blogging workshop because these days, “building a platform,” is what writers are supposed to do.  I had and have some fairly cynical thoughts on that proposition (for writers of fiction that is), but that is beside the point.  I simply would not have kept at it if blogging was nothing more than a means to an end.

Almost immediately, this endeavor took on a life of its own.  It continues to surprise me.  If I had to sum up what blogging means to me, I would say, “discovery.”  Not only because of all the things I get to research and learn about, but because I continuously surprise myself by finding things in the psyche I don’t know are there until I see them on the screen.

So I want to sincerely thank everyone who stops here and reads a post, and maybe even takes a moment to leave a comment.  You keep me going and I appreciate you very much

I’ve learned many things this year, chief among them, the seemingly inexhaustible way the mind generates ideas.  I don’t know how many times I’ve posted something and gotten up thinking, “Well, that’s it.  It was a nice run while it lasted, but I’m finally out of things to say.”  The experience is so common, that I get to see, at least once or twice a week, that if I just go do something else, the next idea will appear in it’s own time.

Ideas are common – they come and go, but once in a while one sinks deep, resonates, and even changes some aspect of your life.  Something stated very simply this spring by Edward Espe Brown, who I posted about at the time, had that effect.  It crystalizing themes that had been on the back burner for a very long time:

Are you going to be a rule follower or are you just going to be you? – Edward Espe Brown

Brown made the comment in the context of spiritual practice, but it has a much wider scope.  It certainly does in the field of writing.  Here’s a confession:  some two years ago, a critique group buddy said, “I’ve heard that editors don’t like colons.”  I am ashamed to admit that I went home and rewrote several sentences.  Blogging has sharpened my perception of the absurdity of pronouncements like that, and something else that Brown said cuts at the very motive for heeding “advice” of that sort:

What is precious in us doesn’t come, doesn’t go, and it does not depend on performance.

Edward Espe Brown

I am very fortunate indeed to have a forum like this where I get to pass along things of value like that when I come upon them.  And as for what’s coming up in the next year – I promise I’ll let you know as soon as I do.  Meanwhile, I very much hope you will stay tuned.

You Must Go and Win: Alina Simone, Writer and Indie Rock Musician

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I love the way the digital age allows you to find marvelous things.  I was half-listening to NPR yesterday evening, struggling with a blog post I have since discarded and thinking about feeding the dogs.  A song came on that instantly caught my attention.  I walked to the radio in hopes of hearing the singer’s name, but when the announcer said it, I couldn’t quite make it out.  He was interviewing a youngish woman with a hint of an accent about her recently published book.  I caught the title, and quick trips to Amazon and youTube turned up an Indie rock singer with a haunting sound and a collection of vibrant essays that had me up reading way too late last night.

Born in the Ukraine in 1974, Alina Simone came to the US as an infant when her father, a scientist, refused to join the KGB.  She grew up in Boston and Sinead O’Connor’s music changed her life. You Must Go and Win recounts some of her misadventures on the trail of success, which her father had said was “only a matter of statistics…failure only means you haven’t thrown yourself, face-first, against the brick wall of probability enough times.”

But as she approached her 30th birthday, working a day job that had “something to do with Powerpoint,” and a career that seemed to be dying along with her cat, Simone considered letting it go.  As she wrote in the title essay, “You Must Go and Win,”

The problem was how to quit.  After all, America does not like a quitter.  In a broader sense, I knew that my exit from the music scene would cause not a ripple.  At worst, my core fan base of depressed Jews might find themselves a little more depressed.  But in this, I felt like I was practically doing them a favor.  No, for my own sake I needed a way to explain the sudden change of heart, a beautiful, glass-half-full way to spin this, like, “Don’t think of me as a failed musician when really I’m a successful cat nurse!”  After all, Etsa had turned a corner, hadn’t he?  The closets were once again redolent of cat pee, and lately he’d begun standing outside our bedroom door in the mornings again, serenading us with his bloodless screams.

Lucky for us, Alina Simone did not quit.  Instead, she still lives in Brookln with her husband, a Yale professor.  2011 has brought Simone a new daughter, Zoe, and has brought us a new album, “Make Your Own Danger,” in addition to her book.

Take a listen to her music on youTube and sample You Must Go and Win on Amazon. It will not be for every taste, but I am personally looking forward to listening to and reading from an exciting artist I found just “by accident.”

What is YA and Who Reads It?

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Recently someone suggested a novel to me, but cautioned that I might not like it because it was “women’s fiction.”  That sparked a mini-revelation.  I realized I read a lot of women’s fiction because I read a lot of young adult books, and the two have become synonymous.  As if to underscore the notion, an email from Amazon popped up in my inbox called, “New Releases in Young Adult.”  Of the ten recommendations, nine were by women, and the single title written by a man was a paranormal romance with a female protagonist.

That got me wondering about the history of YA, its origins, its audience, and its nature in the olden days, which I guess means before Twilight.  Wikepedia came to the rescue with a well done page on the history of YA fiction:  http://en.wikipedia.org/wiki/Young-adult_fiction.

The honors for coining the phrase, “young adulthood,” and distinguishing “books for children” from “books for young persons,” goes to Sarah Trimmer, in 1802.  Even so, 19th century publishers did not use any distinct classification for young readers, though some of the titles published remain classics to this day:  Swiss Family Robinson, Oliver Twist, Alice in Wonderland, The Adventures of Tom Sawyer, Kidnapped, and The Jungle Book to name a few.

The trend continued into the 20th century, and the roaring 20’s established young adults as a group apart, but it wasn’t until the 50’s and 60’s that “young adult” as a classification entered the publishing world.  The genre as we know it did not begin to emerge until the 70’s and 80’s, for books like The Catcher in the Rye (1951) and The Lord of the Flies (1954) bear little resemblance to what you find in the YA section today.  In case I’m being too subtle, I don’t really think that’s a good thing.

Neither did a thoughtful blogger named Annalee Newits, who posted a piece called, “Stop Writing Young Adult Science Fiction,” in 2008.  Though she writes in defense of her favorite  genre, her observations transcend such confines:

If we really want to open science fiction up to new readers, we won’t do it by dividing our audience up into smaller and smaller groups. Nor will we expand the minds of young people by telling them that they should only read specially-designated novels for young people. Why not admit that teens have a place in the world of adult imagination, and vice versa? Adults and teens are different in all kinds of ways, but surely they can meet in the world of fiction.  http://io9.com/5037686/stop-writing-young-adult-science-fiction

I posted earlier about my frustration one day when I cruised the blogs, in search of the “proper” age for protagonists in young adult vs. middle grade fiction.  It turned out that just as in real life, no one knew what to do with the 14 year olds.  The real question is why we are asking this question at all?  Who told us we have to, and why?

Ursula le Guin, Madeline L’Engle, C.S. Lewis, Tolkien of course, Mercedes Lackey, Robin McKinley, and Neil Gaiman – these are just a few of the names that pop right to mind when I think of writers who have played by their own rules, who have written stories for young adults that have weight, substance, and staying power, and defy our feeble attempts at classification.

The blurb for the young adult winner of the 2011 Amazon Breakout Novel Award begins, “In the increasingly crowded paranormal marketplace…”  Apparently that’s what it has all come down to in young adult – we introduce an award for excellence by noting how the book has positioned itself in the marketplace.

Life is way too short to play by this kind of rule.