Bullshit

On the Dark Side

Can't Tell if the Cop is a Costume or Not

Can’t Tell if the Cop is a Costume or Not

Increasingly, we live in a world where shared, universal experiences are fewer and further between. Where once you could count on a few tens of millions of people watching a TV show with you—and often at precisely the same time—these days DVRs and streamed video means you can watch things literally years after they make their cultural splash, and even if you do watch them at the same time as just about everyone else, chances are a much smaller number of people are watching it with you.

Which leads to the most ridiculous of all ridiculous First World Problems: Trying to find a TV show everyone at a dinner or other gathering has watched completely in order to have something to discuss passionately. It’s a lot harder than it should be.

Cranky and Humorless

It also highlights one of my own problems: I hate many things that most people love.

As I ease on down into middle-aged crankiness, I am increasingly comfortable openly admitting to absolutely hating things I am expected, for some reason, to love. It’s like politics: Have you ever had a total stranger just suddenly start talking to you about their batshit political beliefs because they simply assume you’re one of them? Like, you’re chatting with a neighbor on the street and they suddenly unload a torrent of anti-Obama invective, and you’re standing there wondering what it is about your specific T-shirt and shorts combo that somehow projects I AM AN INSANE RACIST?

I feel that way when people discuss any of the following activities, which I am somehow weird for not enjoying:

  1. Live music. Fuck concerts. I went to a lot of them when I was a kid because it was just what one did. I’ve always despised the experience, though. Crushed, shoved, expensive drinks, and music that sounds a millions times worse than the carefully recorded and engineered versions. These days I’d usually rather have my feet cut off than go to a concert.
  2. Parades. Sweet baby jebus, parades. A slow, grinding assault on my time here on Earth, a parade is literally a way of measuring off how much of your life you’re wasting that day. Unless you’re in the parade, possibly carrying one of those batons that you pump up and down in the air while leading everyone. That’s a different story. And basically how I spend my Sundays, although so far no one has spontaneously followed me as I march around, which has surprised me.
  3. Fireworks. Our country’s recent birthday reminded me just how boring and awful fireworks are. People who enjoy setting off fireworks are sociopaths, and people who enjoy watching fireworks are people who believe entertainment literally equals staring at bright shiny things for fucking hours.
  4. Travel. The Duchess will burst into tears and punch you in the face if you ask her about my aversion to travel. The Duchess wants to go everywhere, even places where the local residents are getting into leaky boats and risking dangerous trips to escape from. I want to go nowhere. The idea that the future of mankind somehow hinges on broadening my understanding of other cultures is debatable, and travel is uncomfortable, exhausting, and just makes me really, really want to go home. Of course, since I am married to The Duchess, the travel continues, until I die, most likely while strapped into an economy seat heading god knows where.

It’s freeing to be old enough and mature enough to just admit I hate these things and not worry much whether it makes me weird, even if I suspect the world has a few more concerts, parades, and fireworks in store for me, because the world is cruel. In the mean time, if you see me marching up and down in full-on parade regalia, please do join me.

On Food Cannibalism in Commercials

Eat me.

Eat me.

Let’s stipulate that two of the more disturbing things in this world are A) advertising in all forms and B) eating other living things for sustenance. Stipulated. Now, put those things together and generally speaking you’ll get some of the most insane, soul-killing stuff ever committed to paper or video, and anthropomorphic food is definitely at the top of the list. Every time a hot dog dances onto a movie screen singing about treats, I think about that fucking hot dog screaming in horror when someone eats him. The upcoming film Sausage Party gets this, since the entire film is all about anthropomorphic food that thinks being chosen at the grocery store is ascending to paradise, only to be completely horrified to discover what it really means.

So, as with most dark stuff, there’s humor there. Even so, sometimes there are commercials that are so ridiculously strange they make an impression—but what really makes you wonder if you’re living in a computer simulation created by aliens with an imperfect understanding of humanity in general is when the strange commercials all have the same weird, disturbing thing in common.

For example, food eating itself.

You’re Eating Yourself, You Don’t Believe It

Now, on the one hand anthropomorphic food eating itself—eagerly—isn’t necessarily evidence of anything beyond the fact that people working in advertising and marketing are the Worst People in the World (this is a fact, go look it up). I mean, if we imagine that Mrs. Potato Head actually exists as an intelligent, sentient being, then if she chooses to grind up her fellow potatoes and fry them up into delicious chips and then eat them, well, maybe sentient potatoes have different traditions and religious beliefs.

Dig the Trump Hair

Dig the Trump Hair

Or if our breakfast cereal spends its free time chasing its fellows around so it can literally tear them apart with its teeth (teeth?) and eat them alive while they flee in fucking terror, then who am I to say otherwise? Again, maybe sentient cereals have developed a different standard of morality.

I see this in my nightmares, now.

I see this in my nightmares, now.

These are just two of several advertisements for awful processed foods that apparently believe that cannibalism, terror, and the complete and total breakdown of society is an aces way to sell you horrible things. There are the M&Ms commercials, of course, which are not so much cannibalism as simply the predatory consumption of sentient, thinking beings who are completely aware that we all wish to consume them. I mean, seriously, this is a shitshow of psychological horror centered on convincing us to eat food we should never, ever actually eat. (Although, to be fair, Lay’s chips are fucking delicious).

My conclusion is inescapable: As I have long suspected, you all want to eat me.

I Am Delicious

Here’s my unbreakable logic:

  1. Advertising firms have the resources and motivation to get to the bottom of the human psyche. If they can crack the mind-control codes that stumped the CIA during the MK-Ultra years, they can make us give them our money for things like shit cereal that will 100% give you diabetes within a few years.
  2. Thus if all the trends in food advertising use cannibalism and the violent murder and consumption (usually raw) of sentient beings, the Advertising Illuminati must know this will appeal to you. Because you—yes, you—are a horrifying animal who secretly wants to murder and kill me.

I think I’ve proven my point: If you buy Cinnamon Toast Crunch, you’re a murdering cannibal. Or could be a murdering cannibal. Either way, I don’t want to be left alone with you. You can just mail me my Ph.D. in Thinking, I’ll just be sitting here drinking whiskey and watching far too many television commercials about predatory cannibalistic food.

Authoring is Hard Work

Cats Ate My DeskIn 2002, a year in which otherwise almost nothing I can remember happened, the New York Times reported that “a recent survey” confirmed the worst fears of many Americans: 81% of the country thought they could write and publish a book. Eighty-one percent. Considering there are about 319 million people in the U.S.A. alone, that means about 258 million people figure that someday when they have some spare time they’ll bang out a novel. Or, more accurately, they’ll go find a writer friend they know, drunkenly explain the story idea with helpful doodles on cocktail napkins as visual aids, and then let that writer friend write and publish the book while splitting the profits 70/30.

At first blush, the 81% number seems high, especially when you consider that the U.S. Bureau of Labor Statistics counts just 129,100 authors and writers in the country as of 2012. Although, when combined with the explosion of self-publishing in recent years, that seems like a dubious number too, especially when you learn that the Bureau also claims the median income for authors and writers is $56,000 a year when most writers are constantly Googling “how to boil shoes for dinner” or “how long can I eat nothing but Ramen before getting scurvy”—although to be fair when you include people like James Patterson or Stephen King or E.L. James in the calculations, that median is going to shoot up quickly.

However, when you think about how many people participate in things like NaNoWriMo every year (more than 300,000 according to the website) and how many people are publishing novels—more than 750,000 traditionally and self-published books annually in the United States alone—it starts to seem like that 81% number might make sense after all.

In reality what this means is that an enormous number of people think they can write and sell a book, but less than 25% of them actually do, one way or another. That’s a big gap, even if we remove those helpful folks who are always offering up brilliant ideas for novels and seeking to split profits and restrict ourselves solely to people who would, you know, actually be willing to write a book. As an author myself, there’s only one explanation for the this discrepancy that makes sense: writing a novel is hella hard. Selling a novel is even harder. Black magic may be involved.

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Admitting Defeat

Dear Mr. Manuscript: BURN IN HELL

Dear Mr. Manuscript: BURN IN HELL

SO, a few months ago I had an idea for a novel. It was a little outside my usual light cone, so it was a little scary. But sometimes the best thing to do when you’re not certain about an idea is to steer into it and see what happens, so I leaped in. 80,000 words later I had something that resembled a novel, and “resembles a novel” is the best I can ever hope for, honestly.

I was meeting with my agent, the also-frightening Janet Reid, doing a check-in kind of thing and I mentioned I might have a new novel for her to read. She asked for the elevator pitch, and I started laying out the premise, when she interrupted me.

“I love that,” she said, “as long as the next words out of your mouth aren’t X, X, or X.”

(Note that “X” here represent tropes, concepts, or buzzwords).

“Well,” I said, abashed. “Actually, it is X, X, and X.”

Janet attempted and failed to appear cheerful. “Well, who knows! Maybe you pulled it off.”

Being informed that your big idea isn’t nearly as original as you thought isn’t uncommon, and being blithely unaware that your big idea has been done to death isn’t uncommon, either, at least for me. I’m full of myself enough to ignore such advice when it suits me, however, so I decided that the way I’d approached the concepts set my novel apart. I polished it and sent a draft to my wife The Duchess for a read-through, as she is uncommonly smart.

A few days later, The Duchess reported on progress. “I’m halfway through, and I was really, really loving it until the end of Part I. Then I read the next chapter and it was X, X, and X, and you know I hate X, X, and X!”

So, friends, at this point as a writer who is at least trying to appear professional, you have three choices: One, assume everyone else is crazy and just barrel ahead with your lame novel; two, put it in a drawer and forget all about it, along with the dozens of other set-aside lame novels; or, three, accept that your original idea wasn’t so great and come up with something better. I went and had a whiskey and thought about it, and almost immediately thought of something better. I’ll have to rip out 40,000 words and start in the middle from scratch, but damn it’s a better idea. Much better than X, X, and X, anyway.

None of this means it’ll sell. It may yet wind up in that Drawer of Dead Novels. But at least for once I didn’t just put my head down like Juggernaut, because I have a tendency to ignore good advice. Even when it’s repeated several times, from different people. There’s still no guarantee that this novel will be successful, or sell, but at least it will be better.

Let’s Contemplate Death, Want To?

Death Becomes Me

Death Becomes Me

My brother and I have an old routine where we discuss how we’d like to die, if we had our druthers. He always defaults to this fantasy of being diagnosed with some sort of movie disease like a Brain Cloud and having an idyllic six months to live, wherein he will feel more or less normal and have all his faculties, and then simply drop dead. The idea is he’ll have the time to liquidate all of his assets and fly out to Vegas, there to live like a modern-day Caligula until he simply keels over in a hot tub filled with prostitutes and, I presume, whiskey.

While I salute my brother’s dream of drinking himself to death when the last moments come, I deprecate his plan for the obvious reasons: None of us get that kind of warning, I don’t think. Or at least a vanishingly small number of us do. Most of us will either have a bus dropped on us without warning, or our last memories will be do I smell toast? or we’ll have a long, grinding road of misery and pain until we just sort of enter a new state of existence known as barely there.

In short, I haven’t known much death in my time, but I do know this: There is no such thing as a good death.

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Writing often means you have to concoct good deaths for characters. The closer I hue to reality when it comes to death, the less satisfying people find my stories. People like to see just desserts, noble speeches, epiphanies, and deathbed confessions. They like to see death matter in fiction. I strongly suspect this is because almost always death doesn’t mean anything in life. It just is.

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I think this topic has been on my mind (more than usual, anyway) because my agent, the Redoubtable Janet Reid, recently suggested that I take steps to set up a Literary Executor, someone who would be empowered to handle my Empire of Words after I’d died of acute alcohol poisoning (or, possibly, something else). Now, when your agent suggests you start looking towards a Post-Life Strategy, it makes you think. As in, I thought, Do I look like I’m fucking dying? It seemed like just a few years ago we were chortling over whiskies at Old Town Bar, plotting my eventual literary domination! Now we’re gently pushing my funeral barge into the water, the scent of lighting fluid all around me.

I’m no Stephen King or Nora Roberts, but I get royalty checks, which means my books sell and someone is making money from them. I’m the last stop on the Money Train, it’s true, but it’s still money. So, sure, when I die of (probably) drinking a fifth of bourbon and wandering into traffic whilst singing Irish folk songs, someone’s gonna have to make some decisions. And if I don’t designate someone, who knows what the hell happens. For all I know I signed a bar napkin a few years ago promising some rando they could have my literary empire. I mean, it’s entirely possible. I sign a lot of things.

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On the other hand, you can’t think too hard about death when you create stories and universes. You have to be like god: eternal and unblinking, otherwise why bother? I mean, when I think about all the stories and novels I have planned for the coming years, I kind of assume I am eternal and ever-living, like Mumm-Ra. You can’t think, oh, I’d like to write this seven-book Sci Fi series, but … you know, chances are I’ll be dead tomorrow, probably from drinking grain alcohol with a lit candle nearby. Better safe than sorry!

So on the one hand, I have to plan for my own demise, when I will likely find myself on trial with every fly, roach, and cow I’ve ever murdered standing in judgment in the afterlife. On the other hand, I have to pretend I will live forever, like the aforementioned Mumm-Ra, or I will produce nothing. It’s kind of a mind fuck, if you ask me.

If anyone is thinking they might be the ideal choice to be my literary executor, I’m sorry to report the post is filled by The Duchess, who will not be amused if you make any attempts to seize control after my unfortunate death from beer poisoning.

And if you are one of the few who find references to Mumm-Ra, The Ever Living entertaining, y’all are my people.

The Ones that Get Away

shoplifters-beware-1444139-1279x862Every now and then someone makes a terrible mistake and assumes that because I have published a few novels and stories and such that I know something about publishing and writing. I don’t. Like Jon Snow, I know nothing, and generally go through life feeling like a confused and slightly dimwitted teenager.

One question that comes up relatively frequently concerns protecting your ideas. A lot of people seem to think that Idea Thieves are hanging around all the coffee shops and bars, soaking up any stray novel idea you slur out and rushing off to write that sucker themselves, cashing in for the millions of dubloons that should rightfully be yours. And I have to burst their bubble by telling them that this only happens after your idea starts generating those millions, and even then only very, very rarely. In general no one steals ideas, and any sleep you lose over it is likely misplaced, because there are literally no new ideas anyway.

Case in point: Designated Survivor.

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Hermetically Sealed

Perfect

Perfect

Last week, under the commands of our hidden alien overlords beamed directly into our brain implants, The Duchess and I went to see Captain America: Civil War Why Not. This is not a review; the movie was fine for what it is, with my sole pedantic complaint being the incredible surveillance camera located on an isolated road in the middle of fucking nowhere that captured an assassination with perfect clarity, including several impossible camera angles. Other than that incredibly wonky detail, it’s a film with approximately 5,000 characters that somehow hangs together in something at least resembling sense, and for that I salute the filmmakers. Batman V. Superman had 90% fewer characters and plot threads (and laughs) and somehow made 100% less sense, so seriously, Civil War, congratulations on a job … done.

BUT! I have not come here to bury Captain America: Civil War, which if nothing else gifted me with the image of Paul Bettany in full Vision makeup dressed like Mr. Rogers on the Prowl. It’s just that as we walked to the movie theater I experienced what has become pretty typical anxiety, because seeing a movie in the theaters always carries a 50% chance that your audience will made up of Trash People and you will hate life for having joined them.

In other words, bring on the wall-sized TVs that never turn off, as long as they come with first-run movies on the same day as general release.

You All Terrify Me

In general I regard my fellow humans as potential murderers and suspected assholes. It makes my personal relationships fraught with drama. It also means I am always one step away from full-on Howard Hughesdom minus the money, which is the worst form of Howard Hughesdom you can come down with, my friends.

In my old zine The Inner Swine, I constructed a persona that was basically me in full-on Howard Hughes mode, swanning around an underground complex. This is, I have to admit, my ultimate retirement plan: To remain in my house at all times, preferably with blast shields down, and all personal contact with the unwashed masses conducted via video conference. Towards that end, please everyone buy 500 copies of my books immediately.

So, getting back to movies: The other day I was having a conversation about the appeal of going out to the movies, and my conclusions are that they mainly lie in the idea of getting out of the house and interacting with the rest of humanity — the social aspect, in other words. Yes, there’s still some superiority in the sound and vision department, as you don’t yet have the same sized screen at home, or (usually) the same sort of sound system. But we’re getting close, and, frankly, every time I find myself in a movie theater I invariably think you know what would make this even better? My house.

In other words, I picture myself sitting on my couch with a glass of bourbon and a remote control.

The $50 Question

Recently there was some news about a startup hoping to roll out first-run theatrical release movies (like, say, Captain America: Civil What the Ever Living Fuck) and charge people $50 for a 48-hour rental. And people went a little batshit about that price point; after all you pay Netflix somewhere in the $100 range (depending on when you signed up) and can watch as many movies as you like as often as you like. In that context, $50 a movie seems steep.

Others countered that four tickets for ~$20 apiece, plus popcorn and sodas made $50 seem like a bargain. For me there’s the extra, priceless bonus of not having to deal with the worst people in the world, a.k.a. everyone who is not me. Being able to put my feet up and get blackout drunk while watching? Worth it. Not having to listen to someone ask their date sixteen times who Ant Man is? PRICELESS.

So, to sum up, we all look forward to the glorious day when my personal resources and the available technology allow me to remove myself from society completely, including establishing my own distillery on the property so I won’t even need to truck in booze (food is not a problem as food just makes me sick). Until that heady day, my friends, I will continue to complain.

The Tipping Point

I recently Tweeted a few thoughts on tipping, making a joke about how I use tipping to enforce my will like a modern day Caligula. That’s half-true. I also use tipping to reward good service, like a normal human being. And while there are scenarios where I’d celebrate the end of Tipping Culture (as discussed in Think Pieces here, here, and here) in general I’d likely still tip even if the person’s hourly wage was adjusted up to compensate for a theoretical lack of tips. Because I like tipping.

You Sure, Brah?

Not me. I'm cuter.

Not me. I’m cuter.

One weird artifact of tipping is when you’re a big tipper, as I like to think of myself, sometimes, and society recoils in horror. For example, my barber.

I hate getting haircuts. This is known by the Internet, which is collectively subjected to my whining about it on a regular basis. The reasons I hate haircuts have nothing to do with hair or style, and have everything to do with having some Rando touching my head and talking to me while I am forced to sit there in mortal fear as they wield sharp objects near my jugular. So when I find the Platonic Ideal of barbers—someone who doesn’t chat, who simply gets to work cutting my hair in a silent, businesslike manner, I want to reward that person. I want to tip like 50% and reinforce that urge to not talk, to not ask me what I do, to not pretend that we’re somehow friends just because I allow them to touch my head.

And every time I try to tip some ridiculous amount, the software at the POS machine always pauses and makes me confirm the amount. It’s essentially a message that says, whoa, brah! that’s a lot of coin. You sure?

It’s 3PM on a Thursday, motherfuckers. I’m sober-ish. I am fucking sure.

The Public Shaming

There is an idea that tipping is like a limited resource you should only parcel out in tiny sips, as if you might someday exhaust your personal supply of tips. That every transaction is a complex equation where you weigh millions of pros and cons, each worth, like, a penny or something, and end up with some bizarre number like $23.64. That awarding some peon a tip is like Caligula waving an imperial baton and granting clemency to a gladiator. Like leaving a tip is equivalent to pissing out a kidney stone or having a child: painful and difficult and only to be done with lots of down time and rest in-between attempts. When you attempt to tip in a more freefall, fuckit manner, you get a lot of pushback in the form of calls from fraud services on your credit card account or, as with the barber, robots demanding that you certify you haven’t been day drinking since 11AM and are tipping your barber $25 because they’ve slipped you some Roofies or are holding a straight razor to their throat.

In short there’s an assumption that being generous is by default a mistake, and that’s troublesome.

And that’s likely because rather than a reward for good service, tipping is supposed to be a form of control, a way of making people jump through hoops. Giving someone a bit of kosh because they treated a haircut like the grimly uncomfortable horror that it is seems like I might not quite understand the capitalist system, and thus must be discouraged. Fact is, most of the barbers I’ve met treat cutting your hair like an opportunity to make a new best friend, or possibly to recruit you into their Amway cult. They talk, they ask the same questions every time (because they don’t actually remember me from the last time) and they try to upsell you on hair product.

You’ve seen me. Do I look like a man who uses hair product? Note, not a man who needs hair product (because, obviously: yes) but one who actually uses it. The answer is no. Trying to upsell me hair product while I am writhing in awkward discomfort in your barber’s chair is just dumb.

So, my current barber: A glorious woman who speaks exactly ten words during the entire experience:

Hi Jeff.

Same as last time?

See you next time!

A glorious woman who gets to work, doesn’t waste time, and doesn’t even ask me what kind of shampoo I use, or whether that smell is me, or if I am in fact wearing pants made of cocktail napkins and duct tape, possibly cobbled together in a public restroom after waking up pantsless in a dumpster. She just does the job, takes her pay, and we both move on. And whether the robots like it or not, I am going to keep tipping her as heavy as I can.

The Dangers of Not Enough Alternative in Your History

I LOVE COCAINE SO MUCH

I LOVE COCAINE SO MUCH

Like a man paralyzed with fear as he watches a horrible auto accident, I continue to tune into HBOs Vinyl now and then. The wonders of the digital age on my cable company’s circa-2005 technology allows me to time shift to my heart’s desire, which means a show like Vinyl that would get skipped hard if I had to choose between it and several other, much better shows actually gets watched in the wee small hours when I’m bored and tired. While being bored and tired when watching a show might not be the ideal headspace for appreciating art, it is the ideal headspace for undercooked prestige dramas.

Vinyl has its pleasures, but it remains an unsatisfying slog of a show filled with a clichéd antihero lead character and plenty of overblown self-importance. Overall, I’d give the show so far a hard C+, but something’s been bothering me about it from the get go, something that has nothing to do with the characters or the dialog or even the fact that the lead character is so awful (seriously, if you haven’t watched the show and want to know what the character of Richie Finestra [Bobby Cannavale] is like, imagine Don Draper on a bloaty, self-hating binge but then remove all his charisma and magnetism and any sort of redeeming artistic sense of beauty). I finally figured it out: It’s the half-measure alternative history of the show.

This is why watching or reading not-great works can still be profitable for a writer, because the failures can crystallize concepts for you. Put simply, Vinyl demonstrates that if you’re going to tell an alternative history story, you must be prepared to actually change history.

Vinyl As a Work of Sci Fi

Is Vinyl, the story of a record executive in the early 1970s, science fiction? No, of course not—except it kind of is, because Vinyl exists in that mainstay of SF stories, the alternate history. Richie Finestra isn’t just a fictional character at a fictional record company, he’s supposedly a heavy-hitter who’s the principle shareholder of a major record company. A company that has a reasonable chance of signing, say, Alice Cooper or Elvis to its roster.

And the show has fun with that, having actors portray some of the biggest stars of the time, and imagining they’re actually on the American Century label or being pursued by the team of A&R people working there. David Bowie shows up. Robert Goulet (!) shows up. A host of lesser-known stars of the era show up. The impersonations vary in quality and effectiveness, but the key here is that a plot point in several episodes has been American Century, a label in serious financial trouble, keeps trying to woo big stars onto their label. And it keeps failing, for the simple reason that those stars never signed with American Century, because American Century didn’t actually exist.

In other words, things like this keep happening: A hapless A&R guy, his job on the line if he can’t sign a new act, has a random run-in with Alice Cooper, who in 1973 was a huge rock star. So the hapless A&R guy spends a boozy, exhausting weekend wooing Cooper and trying to convince him to leave his band and go solo on American Century. That’s all fine, because it’s 100% possible that Alice Cooper was in fact wooed by a wide variety of A&R guys from a wide range of labels and no one was there to snap photos and write breathless accounts of it. But of course we all know that Cooper didn’t go solo until 1975, and when Cooper humiliates our hapless A&R guy because he hates Finestra and American Century, there’s no surprise. So far Vinyl has proved unwilling to actually re-write history too much, so we know it won’t take Alice Cooper from fictional version of a real person into the realm of 100% fictional character. That makes all the cameos by 1970s rock stars pointless. We know what will or won’t happen.

And so, Vinyl turns to fictional rock stars for the actual kinetic storytelling, inventing someone like Hannibal, an R&B superstar, so American Century can actually have a contract in play that won’t break history. That’s fine, but mixing the fake and the real just underscores the problem: Vinyl‘s unwilling to change history in service of its alternate version of history, and if an alternate history is kind of exactly the same as actual history, what’s the point?

Meet The Drapers

Mad Men danced the same dance: Set in the advertising world of the 1960s, it had a fake ad man in Draper, working at a fake advertising firm, but working with real-life products. And it works, for two reasons. One, people (or at least: me) are much less familiar with the shadowy world of advertising. In other words, as far as most people are concerned, Don Draper might as well have come up with the “I’d Like to Buy the World a Coke” campaign, because most normal people have no fucking idea who actually did it.

Two, Mad Men did in fact change history many times on the show, in the sense that it often had real products and real companies hire Don and company to work on campaigns for them. Heck, the Coke Ad in the finale is an actual campaign, a famous campaign, and Matt Weiner just decided that in the Mad Men version of the universe it was invented by Don Draper, and screw reality.

Mad Men is also assisted by the fact that large corporations often did and do have several advertising firms on the payroll, so it doesn’t break any rules to imagine the boutique-style firms Draper worked at might not have picked up an account here and there.

Vinyl has no such luxury, since rock stars are only signed to one label at a time. Teasing us that Richie might sign Led Zeppelin in 1973 instead of watching them get their own Swan Song label is only exciting if we think it might actually happen in the alternate universe of the show. Once we figure out that stuff like that is never going to happen, we get bored. When Richie sits down with a bloated Elvis in Vegas and tries to get him to dump his residency and start over with a new label, the audience twiddles its thumbs because the show has established that a major departure from reality like that is never going to happen.

If the show did take those chances, it would instantly be orders of magnitude more interesting. A show where Elvis cleans up, hits the gym, and signs with a demented cokehead record executive desperately trying to make music meaningful in his own life again? That would be interesting for no other reason than it would be 100% unpredictable. As it is, the impersonations of celebrities on Vinyl are only as interesting as the performers’ mimicry skills.

The Writing Bona Fides: Software

The Page Cannot be Displayed by Jeff Somers

The Page Cannot be Displayed by Jeff Somers

I’m a lazy, lazy, lazy man. I mean, just writing that sentence exhausted me, and I had to go and have a shot of whiskey to regain my energy and lust for life.

I’m also an easily distracted man. I can’t remember what I used to be like pre-Internet, but with the Internet sitting on my desktop, I am a cocaine monkey.

So, to recap; I am lazy and have the attention span of a small fly. And yet I am a professional writer of some success. Let’s not quibble on what the precise meaning of success is in this context. Or professional. Or quibble. Let’s just say I have sold some books and make a living with words, and yes, there are plenty of teachers in the Jersey City School System who would be very amazed to discover this.

When interacting with folks who want to be writers themselves, I get a couple of standard questions. You can probably guess a few of them — what’s my process, will I read their manuscript, will I please give them back their cocktail, which totally wasn’t mine to just grab off the bar — but a couple always confound me, especially questions about the software I use when writing a novel.

I usually respond by grabbing them by the lapels and screaming are you going to buy me a whiskey or what until they flee. But the questions stick with me, because whenever I answer I feel like a fraud.

The Stipulations

First, a stipulation. This is important.

I am a moron.

No, seriously — I’m an idiot. A charming, handsome, well-spoken, pantsless idiot. I am frequently ill-informed, I sometimes have trouble hearing people and pretend I understand what they’re saying, I parrot opinions all the time and am easily confused and defeated in rhetorical competition. In short, for god’s sake my experiences are my own and mine alone and nothing I say here is meant in any way as a proclamation. In other words, there are many, many paths to writing a novel or having a freelance writing career. If your experience differs from mine, that’s great! I am a moron.

The Edumacation of Jeff Somers

The software question mystifies me, because writing a novel is the most straightforward thing you can imagine. You have an idea. You tell a story. It’s literally a process of putting one word after another until you have, oh, 80,000 of them. That’s it. It’s that easy. That’s one reason I aspired to being a writer in the first place, because it’s easy.

Of course, not everyone thinks it’s easy. I can understand that. Because it actually isn’t all that easy — the process is easy. The intellectual effort of creating characters, premise, action, and coherent narrative is hard. But writing is and always will be the act of putting one word after the other. Until about 20 years ago, I wrote novels on a manual typewriter. On paper. I still have drawers stuffed full of hardcopy manuscripts. When I grudgingly switched to writing on a computer because no one wanted to receive 400 pages of typescript covered in coffee stains, correction fluid, and shocking pornographic doodles, I used an open source, free word processor and still do (Libre Office, currently).

And that’s it.

The idea of using complicated software to track plot arcs, characters, and other minutiae frankly mystifies me. The idea that any App or software is helpful in any way is mystfiying to me. I’ve never felt the need for it, and can’t see the benefit, and that alternatively makes me feel smug and triggers my Imposter Syndrome.

Imposter Syndrome

Sometimes the accoutrements of a profession, the jargon of a profession are comforting. You might not be at the top of your profession, but at least you know how to use the super secret tools that the rubes don’t even know exist. At least you know the passwords. So when people ask me about the tools I use to write fiction and my answer is literally “Uh: words?” and they give me that look I know so well from all the times I have emerged from pub restrooms without my pants, I wonder if maybe I am fooling myself. Can you be a professional if you don’t use any tools?

At other times my answer to that last question is fuck yeah you can. But the use of specific tools can make you feel like you’re at least part of the club. When I’m on panels or in informal gatherings and a writer starts talking about the complex array of tools they use to write their novels, I do start to feel a little like the Slow Cousin, and I wonder, if only briefly: Would my work be better, or would there be more of it, or would it sell better if I started using some kind of magical software?

And then I am usually distracted by alcohol and forget all about it.