The Writing Life

Sugar Pie Honey Bunch

This is my second day without bread or sugar.  Except for those four cookies yesterday. But other than that, I’m good.  I’ve come to believe that refined sugar is a poison, which sounds extreme, but I think it may really be killing us. And my bread eating habit, amounting to six or seven slices on any given day, is out of control. So I’m trying to live without bread (which is really just sugar in sheep’s clothing) and without sugary foods like cookies and any kind of dessert worth eating.  

Today instead of my customary sandwich for lunch I had two hard boiled eggs, a couple of those cute triangular cheeses and an apple.  It was good actually.  I went out into the back yard, sat in the sunshine and ate my lunch with organic Italian grapefruit soda instead of lemonade in my Arnold Palmer.  Although, come to think of it, there is probably sugar in the soda.  Rats. Okay, I’m new to this; it may take me a day or two to get the hang of it.

So while I was in a sugar-free mood, I thought it would be fun to purge my writing of sugar-related descriptions and phrases along with my diet.  Not for any particular reason, and not permanently, but just for the exercise. And here’s my list; see what you can add to it:

Sweetie Pie, Honey, Sugar, Cupcake, Sweetness, Sweetpea (at a pinch), Sweet as honey, Sweet on someone, Sweet tooth, Revenge is sweet, Short and sweet, Sweet nothings, Sweet talking, a Sweet deal, Sweet FA, Sweet nothings, Sweet talk, the Sweet smell of success, Take your own sweet time, Sweet sixteen, Home sweet home, Sweeten the pot,  Sweetness and light, Sweet Caroline, Sweet Adeline, Sweet Jesus, Sweet home Alabama, Sweet rolls, Bittersweet, Sweetener, Say sweetly.  

Then there’s the honey trap:  Sweet as honey, Land of milk and honey, Honey roasted, Honey I’m home, Honeybun, Honeymoon, Honeyed words.

Hotcakes, Take the cake, Cake (meaning money), Have your cake and eat it, Icing on the cake, Caked with mud, Piece of cake.

And of course, Mary Poppins’ immortal Spoonful of sugar.

 

 

 


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Original Sin

It’s difficult  to come up with a completely original idea. I have some faint recollection of Aristotle and Jasper Fforde saying much the same thing, in their different ways and in different millennia, which may prove the point.

Recently I’ve been doing a lot of reading and, time and again, I’ll be reading some other writer’s book and come across a twist or bit of business that I’ve recently put into one of my stories. It’s been happening so often that I’m starting to worry about mind melds and ESP.

Sometimes it’s something small, like someone crying by a fountain when I’ve written my heroine crying by a fountain.  No big deal; I can just move her, although I’ve done some nice work describing the way her dress was getting wet which I’ll have to cut if I move her across the street. Oh, the heck with it, there are a lot of fountains in the world, I’ll just assume my girl is standing next to a different fountain and leave it at that. After all, she has to be standing next to something, and it might as well be a fountain as not. And in any case I need the sound of the water to cover the sound of her sobs and I like the metaphor of the falling water as her tears. Okay, the fountain stays.

At other times it’s a more significant duplication, like a book’s heroine who does the same work as my girl at the same kind of work place when I was hoping to give my reader an unusual experience.  Once it was a character who is not only similar in appearance to one of mine but shares the idiosyncrasies of his speech patterns, too.

Do I have to give serious thought to changing these things or will a reader forgive the occasional commonplace if  the rest of my story, its characters and the action is engaging?

The truth is, whether I change them or not, some of my pleasure in being their creator has dimmed because someone else thought of them first.

In a way it’s akin to wearing hand-me-down clothes or buying a chair at Goodwill. Shopping at Goodwill because I can’t afford Macy’s is different than shopping at Goodwill (and wearing hand-me-down clothes) because I love vintage things.

There are two ways to go here: I can think of the parallels as commonplace ideas that a reader will find boring because they have come across them before. Or I can choose to think of these serendipitous parallels as ideas so good they bear repeating.

Case by case?

Works for me.

“About the most originality that any writer can hope to achieve honestly is to steal with good judgement.” — Josh Billings

 


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Me and Edgar Livin’ the Dream

I’ve known all my life about authors who were inspired by alcohol or a drug-induced stupor or a dream:  Samuel Coleridge (Kubla Kahn), Edgar Allen Poe (just about everything), Mary Shelley (Frankenstein), Hunter S. Thompson (just about everything), to name just a famous few.

And of course, we members of the rock ‘n roll generation are all-too-familiar with the concept of drugs and alcohol as fuel for creativity, since too many of our heroes have died as a result of overindulging in one while trying to capture the other.

I think the idea is that a second layer of creative consciousness is released during times when the brain is active, but not really alert and bothering itself about its immediate, high-level daily tasks, like keeping us from stepping into traffic or remembering to eat our spinach.

I don’t think I really believed it until I had the experience myself last week.

Before you decide that an intervention may be needed, let me assure you that neither drugs nor alcohol were involved. But I did wake up in the middle of the night with the idea for a character, a McGuffin and the opening paragraph of a new novel. I don’t remember actually dreaming about it, but it was very much on my mind as I opened my eyes. In the first few minutes of wakefulness, before I was completely awake, I fiddled a little with the details and by the time I was truly awake I had something rather interesting.

Now I’m an Olympic-level heavy sleeper, so it’s unusual for me even to wake in the night, let alone feel inspired to leave my bed. But I’ve learned never to spurn inspiration whenever, and in whatever form, it may strike, so I tottered out of bed to write it down. And damn if it wasn’t pretty good. It was so good that I decided to concentrate on the resulting story for a while to see where it took me.

I’ve been trying to write a humorous novel for some time; it’s actually difficult to write humorously without working really hard and the hard work seems to stifle the humor—just one of the many apparent contradictions we writers face. But over the next few days, while I was writing my dream-inspired book, I found myself chuckling as I wrote, and in a few places actually laughing aloud. I’m not certain the book is actually funny, or if I’m just so delighted at how easily the book is flowing that I’m chortling with glee at how clever I am.

Either way, I’m pleased with it, I’m happy to know that the dreaming thing works, and I’ll keep you posted.


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Luddite Rant

I TRY NOT TO BE a Luddite, I really do.  I have a laptop and use it daily to write my mystery novels. I have a cell phone and even take occasional photos with it, although that still seems wrong somehow. I communicate with friends via Face Book.  I own a Kindle and download books. I use Wikipedia. And hey, look—I write a blog.

And yet, all of my electronic marvels are like the bastard child of Marvin and Arthur Dent in the Hitchiker’s Guide–they only use about 5% of their brain capacity because I’d really rather be making a cup of tea.

It’s not that I despise or fear technology (although, truly, SkyNet and the Clone Wars seem only moments away most days) I’m just frustrated by the necessity of learning about all this crap, then re-learning it when the newest iteration is “released,” and then listening to people talk about it constantly. Seriously–when did “app” become a word? Worse–when did we all learn what it meant? Even worse–when did we start hearing people talk about the latest ones? Did you know you can “download” an app that allows you to pretend to pop the bubbles on bubble wrap?  I kid you not.

If the internet is the 21st century equivalent of the telephone—meaning that it changed the way we wish each other Merry Christmas, learn about revolutions and the latest fashions, research our term papers and contact each other from vacations in Australia and Bora Bora—then why is so dam’ difficult to use?  Every new tool to access it seems to require a skill set tantamount to running a nuclear power plant (and don’t get me started on actual nuclear power plants).  If telephones had been this complicated in the beginning, we’d still be using semaphore flags. Or maybe telegraphs—which was another simple-to-use technology that changed the world.  Tap a button, send a message. What could be easier?

You know what I miss?

I miss picking my photos up from the drug store and then sticking them in actual albums. And then turning the pages of the albums and enjoying the photos.

I miss people dropping in.  Remember that?  Until about ten years ago (not that long ago really) people used to visit their friends because they hadn’t been in touch for a while.

I miss calling people on the ‘phone and actually reaching them and talking to them. And then picturing them in their living room or bedroom or kitchen and not interrupt them hanging from the side of a cliff somewhere or worse. When did “How are you?” get replaced with “Where are you?”

I miss handwriting.  It’s been a long time since I received any kind of hand written note or letter or card. Hell, it’s been a long time since I sent any.

I miss feeling smart because I know the difference between pica and elite.

Yeah, yeah, it’s all great.  GNP is up; information has largely replaced extractive and industrial production; standards of living have risen all over the place; no parent ever needs to lose a kid because they can “track” them with their iPhones; lovers can break-up without having to meet face-to-face (ye gods); plagiarists have an easier time of it (ye gods again).

We’re all in touch constantly and seem more detached from each other than ever, mostly because we’re so busy trying to figure out the latest version of whatever amazing thingy we’re using to keep us in touch.

I’m never out of touch, and yet sometimes, just sometimes, I wish I was. Maybe I’d feel more connected.


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Alternate Realities and MapQuest

I had an epiphany this week as I was struggling with one of my novels.

I often stop writing for a while—for an hour, a day, anything up to a week or more—when I’ve reached some sort of impasse. In the past I’ve told myself it’s because I don’t know what to write next, that I don’t have a clear idea of the plot, so I don’t know what should happen. But now I think it’s something different: I stop because I don’t know how to move my characters away from the scene they currently inhabit, even when it’s clearly necessary.

I’ve already admitted that I polish my prose too much in the early stages of the game. It can feel productive, when I don’t have anything original to write, to smooth over the rough spots in the bits I’ve already written. This has another downside in addition to postponing the moment when I get on with the new writing: By the time I’ve read and re-read, and polished and refined a scene it becomes more and more imbedded in the “reality” of the novel and thus much harder to change.

If, until the 20th reading, Miss So-and-So and Mr. Whatzit have arrived at the baker’s, chatted with the baker and picked out some pink-topped cupcakes, it is really, really hard to have them by-pass the baker and walk into the hardware store instead. For one thing, all the conversation they had with the baker about sprinkles and chocolate ganache doesn’t translate well to the hardware store clerk, and instead of cupcakes they would need to buy wrenches or something instead. And that feels “wrong,” because I’m so emotionally invested in them having that conversation with the baker and buying those dam’ cupcakes.

In a way, by trying to change the scene I’m changing a reality that’s become as real to me as the real world. (Do I get points added or taken away for using change, changing, real and reality so often in the same sentence?) I’ve come to believe in the world the characters inhabit just a little too much.

All right, that’s one manifestation of the problem, and I should be able to take it in hand by not re-reading and revising my early drafts so much. I’m working on that although, truth to tell, I’m not getting very far. Sometimes my re-reading is almost a compulsion. It starts as a way to remind myself of what led me to where I’m about to pick up the story, but then it becomes an end in itself (Hey, this is pretty good; I’m liking what I did there, what if I change the order of these two sentences . . .) and a substitute for writing, and that can’t be good.

Note to self: Don’t begin your writing day by reading.

The other manifestation is a tradecraft issue: the inability to envision how the characters get from here—the corner of Ninth and Main, to there—a penthouse apartment on Parkside. Do they walk? Take a cab? Fly through the air on gossamer wings? And whichever way they travel, does the reader need to take the trip with them or can the next scene open with them sitting comfortably on a sofa in the penthouse, sipping martinis?

Experienced novelists solve this problem all the time and for us readers, its seamless. But the ragged seams showed plenty while it was being written, believe me.

Most often I manage to open the next scene with my characters already relaxing in the penthouse. But every now and again I get tangled up in what I call the MapQuest version: They strolled down Ninth Avenue, turned right and crossed the street at Pelican, stopping for the light at Parkside before . . . etc.

Note to self: Forget MapQuest; go straight for the martinis.


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