One of my favorite posts from the past, Why Your Cat Hates You, is visiting the blog of author Larry Merris today. My cat Snowball, who dictated the post, celebrated by wallowing on my lap to have her belly scratched and then biting me on the thumb. So, a banner day all around! Larry said that some of his readers are cat people, so I hope they’ll drop by here each week for our celebrations of the human spirit and character assassinations.
Please go check out the post on Larry’s blog. Spelling errors might have crept in during the move to his blog, or even foreign words. He writes about foreign countries, so it’s not as outlandish as you might think. Keep both of us honest.
Larry is the author of The Red Serpent, a historical thriller that you should look into if you enjoy nail-biting rides through danger and ancient knowledge. That wasn’t the absolute the best description. For the absolute best description you should check out the book on Larry’s website. It contains a cool book trailer, and if nothing else catches your attention, this cover should:
The Red Serpent by Larry Merris
You can expect the sequel, The Parable Effect, later in 2013.
Larry, thank you for allowing me to visit your blog and your readers!
When my grandfather went out to eat he always put sugar in his coffee, even though he didn’t like sugar in his coffee. He did it because the sugar was free.
I’ve heard that little story dozens of times since I was a boy. It comes up all the time when my family talks about my grandfather. It sums him up in two sentences. If you know that story, you know a lot about him.
Lately I’ve been working to make characters come to life in a story I’m writing. I struggle. I create backgrounds for them so I know how they think, how they talk, what foods they hate, and what they shout when having sex. I make them do and say significant things that will show who they are. But I often fail to build the thing I’m looking for—that fundamental, defining image as stark as being caught in a lightning flash.
I think I’ve overlooked the Free Sugar Factor.
The Free Sugar Factor involves a person doing something that’s habitual, probably trivial, and always unusual. It’s the kind of thing his family would bring up when they talk about him. They might say, “Oh yeah, whenever Aunt Jane got mad she’d drive to the grocery store and sit in the parking lot for an hour or two. What a character.”
The Free Sugar Factor isn’t some pathological behavior, unless the person really is a maniac. It’s doing something everyone else thinks is peculiar, but it makes perfect sense to the person doing it. We all do these things. It’s part of what makes us real people. I’m not sure, but I think mine may have something to do with turkey sandwiches.
To illuminate this whole concept, here are a couple of Free Sugar Factor examples from real people.
My father’s Aunt Delphi, who he swears was the best cook in the world, made a gigantic pan of biscuits in her wood burning stove every morning, far more than the household could eat. The family would eat about a fourth of the biscuits, and then she’d feed the rest to her husband’s coon dogs.
When I was a boy, my father kept a perfectly tuned diesel engine on blocks in the backyard, as I’m sure everyone else’s father did too. It drew diesel fuel from the gas can sitting next to it. Every day when he came home from work he started up the engine and stood there letting it run for a while.
The Free Sugar Factor usually involves a habitual act, but not always. Some isolated acts are definitive in themselves and forever after show what that person was about. For example, when my mother was three years old, her six-year-old brother took her to the nearby store to see Santa Claus. They joined a long line, and they stood just behind an overweight woman. My uncle kicked the woman right in the middle of her ass and said, “Get the hell out of my way, fat lady, I’ve got to go see Santa Claus!”
Christopher Buehlman’s new medieval horror novel Between Two Fires was released earlier this month, and it’s a fantastic read. The story is funny, historically intriguing, and scary as hell. It received a great review at Publisher’s Weekly, and I can personally vouch for how entertaining it is. It’s available in hardback at bookstores and Amazon, as well as Kindle format and audio through Amazon. The audio version is amazingly well done.
Some of my friends tell me I think too much when I write posts for my blog. I can’t say they’re wrong, because I haven’t tried to just whip off a post. So, here goes.
I’ve started working on another novel. Smart writers convinced me that I need to stop editing the two novels I’ve written. I met some unpublished novelists like me a few weeks ago, and they invariably told me one of two stories. A startling number had finished their novel, but they needed another month to “polish” it. That month of polishing had lasted anywhere from several months to several years. The rest had finished polishing their novel, and they had engaged someone to edit it. Now they were fighting with the editor, who clearly didn’t know a god damn thing because he kept making stupid suggestions. Some of these writers had fired their editor and were now working with their second or third editor, who was also a moron.
I heard about a whole lot of novels that were 99% finished. So to hell with that. I’m declaring my novels 100% finished, and I’m moving on. I’m shooting queries to agents all right, but I’m not waiting around for responses. And I’m not spending all of my time on social media to build my “platform.” (A platform is the group of people out on the internet who think that you’re kind of neat and who theoretically might buy a book you wrote.)
One of the coolest things I heard recently is that “books sell books.” You’re a lot more likely to make fans if you have five books on the shelves than if you have one book on the shelves. Plus, you’re likely to become a better writer with every book you write. So, I can’t ignore all that platform stuff, but right now my mission is to write more books, and I’d better not forget it.
I don’t have a working title for my new book yet, but I can tell you about it in one sentence. It’s the story of how Santa Claus went from being a juvenile delinquent to being the world’s best loved jolly old elf. I’ve done a lot of character and plot work, and I started writing last night. Just for fun, here’s the first draft of the first couple of paragraphs. I expect that by the fourth edit these paragraphs will be quite different. I might not even use any of the same words, including “the” and “as.”
*****
Santa Claus is a bastard.
I mean that literally, since his elfin mother once sat under the moon with an earnest fellow just as young and dewy as she was. They had a jolly time, although maybe it was a bit too jolly. Even that would have been fine, except he had the bad manners to walk off into the forest one day and never come back. When she at last found a husband and became Mrs. Kringle, she brought along her son Kris, who was just like that useless bowl you can’t throw away when you move into a new cottage, because it was a gift from a wealthy aunt.
In addition to being a bastard, Kris Kringle can act like a bastard. At least he’s a bastard to me sometimes, and I’m his friend. In fact, the first thing he ever said to me was, “Stop rolling around and whining, everybody will think you’re a baby.” This was out behind the Aething House, where teenage elves learn their trades and bully each other with minor tricks like making someone’s shoes shrink to the size of a goose egg. That’s not as much fun as you’d think when it’s your feet in the goose eggs. On that particular day my feet were the ones being crushed, and I did roll, whine, grunt, claw, and plead in the snowy yard behind the house.
*****
So there you go—a blog post I whipped off in a few minutes. It was kind of liberating, in an “I have no idea whether that sucked” kind of way.
Since this is a kind of random post, I kind of randomly tossed in this photo I took of my wife.
I cannot testify that writing a book is like giving birth. I’m a guy, and I’d sound pretty dumb saying something like that. I will say that it’s like pushing a living thing out of you, despite the fact that you don’t have any exits that a logical person would think right for the task. And I won’t presume to talk about what happens after the miracle of childbirth, other than I hear that it’s hectic. But on the literary side, once you’ve finished writing a book you can then relax, have couple of drinks, and look at your family for a few days. Then the real work starts, because the book you just wrote is an abomination that would make any reader weep acid and bite off his fingers so he’s never again tempted to turn a page.
Enter the miracle of editing. I think of it as teaching my book to walk, to play well with others, to tie its shoes, and to stand up for itself. Maybe a little orthodonture if it’s lucky. Killers might chase the hero of my book a thousand miles, and in editing I realize they have no reason to chase him past the first hundred yards. Perhaps I use the word “macaroni” three times in the same paragraph. I might have written some stuff that’s just plain dumb. A few determined rounds of editing can transform my book from a wretched semi-hominid into a respectable literary creature.
Truman Capote said that “finishing a book is just like you took a child out in the back yard and shot it.” Give me an amen, brother. After all that editing, I feel like my book and I have spent a year together in a trench across from the Chinese army. I don’t want to let go. I dread saying, “I’m finished with you, you’re as good as you’re going to get. Let’s send you to agents and publishers who don’t care about you at all, and who may even hate you worse than smallpox.” My first novel is now being shopped to some fine agents, and every time I send out a query a sliver of my soul withers.
To distract me from my grief, I now spend my evenings editing my second novel. I’m on my third round of edits, and I hope it’s the last until some editor at Del Ray tells me my plot sucks and I need to fix it before they publish me. I hope for this even though no one at Del Ray is even aware I exist, so I think I deserve points for optimism. Anyway, this edit has taken a while because my book is long.
My first novel was 80,000 words, which is a respectable length. I figured I’d push myself with my second novel and go for 100,000 words. When I realized I needed another subplot, I cranked my estimate up to 120,000 words. When my hero told me he didn’t want to fall for that blond girl and to go screw myself, I gave up on estimating how long this thing would be. I finished at 180,000 words. As a point of comparison, that’s about the length of the New Testament. My novel has funnier dialogue than the New Testament, and fewer lepers. They each have the same number of world-shattering cataclysms.
I’m 150,000 words through my edit, and my fiercest enemies have fought me through every paragraph. They are the evil “adverb” and the baby-murdering “dialogue attribution.” I use these when I’m lazy, and they advertize my laziness by making my writing lame and squishy. And what are they?
Think about your meanest English teacher, the one who made you read The Scarlet Letter, and remember the things she told you. At one point she said that an adverb modifies a verb, or sometimes an adjective. In the sentence below, the word “confusingly” is an adverb:
“He confusingly explained to his readers what an adverb is.”
Why is that adverb bad? It’s not bad, it just turns the sentence into a blundering literary rhino. Try this:
“He baffled his readers with a lousy adverb explanation and an obscure rhino reference.”
“Baffled” does a better job than “confusingly explained.” At least I think it does. I’m not alone, since that literary heavy hitter Stephen King said, “The road to hell is paved with adverbs, and I will shout it from the highest rooftop.”
All right, let’s move on to this dialogue attribution business. When a character speaks dialogue, you have to let your reader know who said those amazing words that will soon appear on t-shirts and a Facebook meme. You can do that with the reliable “he said.” But you have so many alternatives from which to choose. You could write: he uttered, he grunted, he howled, he moped, he exulted, he agreed, he snorted, and many more. Aren’t these cool?
Well, maybe not. When I use them I’m just avoiding the work of explaining in detail what’s going on. For example, I may write:
“My dialogue attributions are awful,” he groaned.
That’s literary laziness. It’s the equivalent of tossing in a clump of dishwasher soap and flushing instead of scrubbing the toilet. By the way, I like to describe writing it relation to common household tasks. I think it puts all of this writing bullshit in the proper context. Here’s an alternative dialogue attribution:
“His forefinger punched the backspace key a few dozen times. Then he snatched his Red Bull and hurled it across the room, missing the cat by a foot. Dropping his head to the desktop with a smack, he said, ‘My lousy dialogue attributions are kicking my ass.’”
The lesson for me in all this is to not spend my time coming up with fun alternatives to “he said.” I should just use “he said” and instead spend my energy on real writing.
So, how does that play out in the book I’m editing, the title of which is No Good Deals, by the way? Here’s an example of a sentence that tortured me last night:
“’I’m bloody tired of you talking obsessively about monuments!’ Stan yelled angrily. ’I totally hate the idea of you finally getting a monument!’”
You can see that some of the characters in my story might or might not have monuments built to them. That’s got to be good. When No Good Deals is published, as I’m certain it will be someday, monuments are a good reason to hurry out and buy a copy. However, here’s the edited version:
“’Damn you! I don’t even want a monument. If you’re having a monument, that’s the last scum-flicking thing I’d want,’ Stan said. ‘I’ll pay children to throw shit at your monument after I’m dead!’”
I think that’s a decent edit and also a good example of my character’s level of sophistication. I already feel one step closer to getting this baby published.
All the reason I need to eliminate adverbs from my life.
Before a reader can cherish a book with all his heart, the book must get its ass kicked quite a lot. Any decision along the way can crush the book into a gritty paste. The author must decide to write the damn thing, and to not quit before the story’s done. He has to decide to stop compulsively revising the story and show it to other humans, exposing his soul to annihilation should someone say that he chose an adverb poorly.
At some point an author has to decide to toss the story’s fate into the hands of other people. If he doesn’t, it will be appreciated only by his mother, his college roommate, and his basset hound. This is a risky proposition, since those people might be mean, and they might know more about the book business than he does. Agents, editors, publishers, bookstore owners, and people who want to read books will all judge his cherished creation. Sticking the story in a snappy-looking binder and dropping it into a desk drawer for all eternity can seem a lot more desirable.
I’m struggling with that decision today. I intend to expose my manuscript to the uncaring scrutiny and possible condemnation of agents in the next few days. And I’m preparing a proposal that I hope will cause them to decide that my story is just what’s needed to lift the spirit of humanity in desolate times. Or at least that a fair number of people will buy it, read it, and smile.
I will include something called a “pitch” in this proposal. It’s sort of like the description you’d find on the back of a paperback book. It should sell the book. After a person reads the pitch, whenever he thinks about the book he should feel like he’s just shot up heroin. The pitch is really important. The first pitch I wrote for my story was:
When five young mice of Briarcliff Manor venture into the harrowing barnyard, they want only three things: to find enough food to eat, to avoid becoming something else’s food, and to create as many little mice as possible. They don’t want to get involved in the travails of young Cinderella and her cruel sisters, or to dabble in the affairs of fairy godmothers. They certainly don’t plan to become horses and haul a carriage from one pointless place to another pointless place. But the world doesn’t seem to care what mice want. The tiniest mouse, Abernathy, along with his siblings and his friends, must employ recklessness, subterfuge and sarcasm in their struggle to survive. No matter what trouble that wretched cinder girl gets them into.
When I read over the pitch, I realized there was a chance that it might not be perfect. Since I hoped that other people would be mesmerized by its brilliance, I decided to use the brains of other people to help me improve the pitch. I sent it to a passel of my smarter friends and asked for their help. Some of them had even read the manuscript before. My friends delivered all the help I could have desired. In fact, here’s a selection of the guidance they provided to me:
*****
Friend 1 – “I don’t like the sentence in the middle. It doesn’t fit with the rest of it.”
Me – “Wow. That’s my favorite sentence in the whole thing.”
Friend 1 – “Get used to working with editors.”
*****
Friend 2 – “Saying ‘Cinderella’ straight out is giving everything away. And saying ‘tiniest mouse’ makes it sound like a children’s book. And I know it’s not a children’s book. You must have said damn a thousand times in that book, and you mention some really frisky mouse behavior.”
Me – “I wasn’t sure agents would spend more than four seconds looking at this, so I didn’t want to make them try to figure out it’s Cinderella. But I guess I should give them more credit. Good point about the children’s book. Maybe I could say ‘horniest mouse’ or something?”
*****
Friend 3 – “Saying ‘pointless place’ twice is kind of awkward.”
Me – “Yeah. I guess you’re not telling me that saying it three times would be better, are you?”
*****
Friend 4 – “Why should we care about these mice?”
Me – “Great question. I care about them because I’ve lived with them for months. They’re like penniless relatives I can’t get rid of. I don’t know—maybe you’d care about them if you spent eight bucks for the book? Okay, I’ll work on it.”
*****
Friend 5 – “Even though it’s a ‘sales’ paragraph, it sounds too ‘salesy.’”
Me – “Ouch. If it sounds too much like a sales pitch then I’ve screwed up. I need to go more for, ‘Would you care to see my etchings?’ and less for, ‘Hey baby, you lookin’ for a date?’”
*****
Friend 6 – “I stumbled over ‘becoming something else’s food.’”
Me – “Yeah, that whole sequence is crap. I need something more like, ‘Veni, vidi, vici,’ or, ‘The Good, the Bad, and the Ugly.’”
*****
Friend 7 – “There needs to be something between the part about the world not caring what mice think and the part about the tiniest mouse and his friends. It seems disconnected.”
Me – “But Friend 1 told me to take out that sentence! Crap. It sucks when you write just 125 words, and the first part’s disconnected from the second part.”
*****
Thanks to my smart, generous, and extremely honest friends, I have created a newer, more irresistible pitch:
The mice of Briarcliff Manor want only three things: to find enough to eat, to escape being eaten, and to have as much sex as possible. They don’t want to get involved with some stupid girl and her two cruel sisters, or to dabble in the affairs of fairy godmothers. They certainly don’t plan to become horses and haul a damned carriage from one pointless place to another. Faced with these threats to their dignity and lives, the audacious mouse Abernathy and his friends must employ subterfuge, bold stupidity, and strategic cowering in order to survive. No matter what trouble that wretched cinder girl gets them into.
Now I shall finish up the proposal and deliver it into the hands of as many harsh, bitterly practical agents as possible. Let the annihilation of my soul begin.
My short story “The Santa Fix” was published today by Open Heart Publishing in the anthology “An Honest Lie, Volume 3: Justifiable Hypocrisy“. It’s available in paper format now, and will be offered in electronic format soon.
I think that the anthology itself has a lot going for it. The 14 stories were selected from over 5000 submissions. Open Heart Publishing is dedicated to green publishing, using print on demand to keep inventory low and reduce deforestation. That makes the cost of an individual book a little higher, but overall it’s worth it. And the physical copy of the book is a really beautiful, high quality volume.
Of the 14 auhors in the anthology, the one who generates the greatest interest will be given a book contract a year from now. So I would be tremendously grateful for any support anyone would like to offer.
Simply voting for me costs nothing, so please do that if you can. Just go to the site and click my name on the left side to give me 1 point. You’re not limited to one vote in the contest. Vote early, vote often!
Purchasing a copy of the book through the publisher’s website by clicking my name earns me 500 points, which is a huge boost for me. If you purchase through a retail outlet like Amazon, then I get no points at all, so please use this link.
On September 6, Ace Hardcover will release “Those Across The River”, a horror novel by Christopher Buehlman. He’s a fantastic wordsmith, and he’s created a highly literate story that’s also thrilling and masterfully paced. It’s available for pre-order at Amazon and Barnes & Noble, and there will be a release party/signing in New York City, as well as other signings around the country. Every brain cell in my skull recommends it.
I wrote the end of the middle of a book last night. This is the part where I drink some schnapps and celebrate, because writing the middle of a long story beats me down. When I write the beginning, I crackle with fun and excitement, because it’s all new and anything can happen. When I write the end, I glide in with relief and regret because I see how it all will wrap up, and I know I won’t get to write this story anymore. But when I write the middle, I feel like I’m dragging the African Queen through a leech-filled swamp—which happened in the middle of that story as I recall.
I struggle with the middle because it squats before me in a willfully ill-defined manner. Sometimes I’m tempted to write, “People do stuff here,” repeatedly for 200 pages. This problem plagues even the best writers of books, plays, and films, as the following examples show us:
Hamlet
Beginning – You learn about the characters and Hamlet swears revenge.
Middle – Hamlet does stuff to some people.
End – You have a bunch of dead guys.
Lonesome Dove
Beginning – You learn about the characters and they decide to go to Montana.
Middle – People do stuff while they ride a long way with a lot of cows.
End – You have a bunch of dead guys.
Star Wars (the original episodes)
Beginning – You learn about the characters and Luke learns the ways of the Force.
Middle – People fly through space and do stuff.
End – You have a bunch of dead guys and dancing ewoks.
The middle is an easy place for me to go wrong. I may kill a character that I’ll need later on. The boy and girl may get together too soon, or they may hate each other too much. I may make such a crazy thing happen that my readers become disgusted for the rest of the book. I may write a bunch of meaningless crap because I feel that I have to fill pages.
I may just get outright bored with the whole thing. The temptation to quit the difficult middle of one project and switch to the exciting beginning of something else is like being hooked on literary heroin.
One reason I wrestle so hard with the middle of stories is that I can see the end of the middle of my life, right up there ahead of me. The beginning of your life contains a lot of possibilities. Just like in a story, the middle of your life sees possibilities taken away. That’s just the way a story is—people do stuff in the middle, and that makes it impossible for other stuff to be done. As in my stories, I’d like the rest of the middle of my life not to be a series of “People do stuff here” pages. And I would definitely like to set myself up for an end that includes dancing ewoks.
