Writing

All Creatures Great and Small

I want to tell you about the summer I spent reading James Herriot’s All Creatures Great and Small in the galley of a tugboat.

A writing career doesn’t just happen. You come to writing in your own way, along your own path. By the time I was sitting in that tugboat’s galley, I’d already been writing stories for a few years. Sci-fi and fantasy, mainly, with some weirdo crime stories thrown in for spice. In high school I wrote some stories that threw wild Twilight Zone twists into careworn plots because everything seemed new to me, and I wrote some stories about high school kids who committed terrible crimes, disappeared for a decade, and suddenly showed up at their high school reunion to reveal what really happened while their former classmates gasped and sighed and schemed to seduce them. You know, typical stuff. Pretty bad stuff.

My parents, god rest their souls, insisted that my brother and I get paying jobs once we turned 14. Of course, my brother and I were generally loafing incompetents, so the actual finding of said jobs was kept out of our hands. My father worked at a local bank (this was back when there were such things as local banks), so he got us jobs in the mailroom. I spent a summer walking around an office building delivering mail and listening to music on my Walkman1. Then I would go home and my mother would confiscate my earnings and tell me I was lucky. I didn’t feel lucky, but you couldn’t argue with my mother.

The next year, however, that job wasn’t available, so we had to get creative2. My father had an acquaintance who ran a drilling company, and he finagled a job for me3. The job wasn’t very closely defined, so one Monday morning my Mom drove me to the asscrack of Jersey City4, and a bunch of befuddled and slightly hungover men pondered what in hell to do with me.

The Tug Boat, Exciting and New5

After spending some eye-opening days with the functioning alcoholics who worked for the drilling company, I was eventually assigned to help spruce up an old tug boat. The company kept a few tugs in order to tow their drilling platforms around, and this one looked and smelled like it had been bought at auction around 1870 and left to rot for a while.

My ‘supervisor’ for the tug reclamation project was an older gentleman who was also living on the tugboat6. This disturbed me, because I would show up every morning and he’d emerge from the cabin, coughing and scratching himself, which made me feel like I was visiting some distant cousin, because all of my cousins emerged from their own bedrooms coughing and scratching in exactly the same way7.

I don’t remember the guy’s name. Let’s call him Earl.

Earl never assigned me any work. He made a few vague suggestions here and there, usually without any sort of context or explanation, and I quickly figured out that I could ignore these suggestions with impunity. Earl would then go off to do mysterious things in the engine area, emerging frequently to smoke cigarettes. I kept waiting for Earl to burst into flames after spending an hour shoulder deep in gasoline and engine oil and lighting up. As the summer dragged on, this became an increasingly attractive possibility.

I was borrowing my parents’ car to get to work every day, which was a perk. Once, leaving the yard, Earl asked if I would give him a ride to a local bar. About six other guys piled in, and I remember being impressed with how fast Earl could move when properly motivated. He made it from the car to the bar within seconds. I was too young to appreciate the value of this skill.

Anyway, since I had no actual work to do, I spent a lot of time in the tug’s filthy galley, where I found a single book: All Creatures Great and Small by James Herriot (a pseudonym). These stories are about a veterinary surgeon who lives and works in a small English town. This is not exactly what 16-year old Jeff would have chosen to read, but I didn’t feel comfortable bringing activities to the job. It’s one thing to sit on your ass all day for minimum wage, it’s something else entirely to flash about how little work you’re doing. So I had nothing else to do but read that book.

And I read the hell out of that book.

It’s delightful! And charming. And completely different from what I’d been reading my whole life, and in that sense, transformative. I’d never imagined I could be so enthralled with these stories of animals and quiet country life. Sure, boredom was a factor. Possibly also fumes of some sort. But it taught me that I needed to be a little more wide in my reading, that perhaps stories that had survive for years or decades or centuries did so because they were awesome in their own way.

Eventually, it was discovered that I was basically doing nothing on that tug. I didn’t get fired, because technically no one had told me to do anything. I was not and am not a lawyer, but I lawyered that situation. And basically managed to get paid to read a book, which makes me a genius under international law.

The Other Beta

As writers, many of us turn to Beta Readers to get objective, informative feedback on our work. I don’t use Beta Readers very often, because I dread that moment when someone brings me the slightly damp stack of paper I’ve handed them and starts asking uncomfortable questions, like

Why is this hardcopy in the year 2020?

or

Did you misspell the word ‘calisthenics’ on purpose throughout? Also, do you think calisthenics is a kind of telepathic power, because that’s how you use the word throughout this story.

or

Did you include an entire recipe for goulash in the middle as a metatextual commentary on your main character’s food obsessions or did you accidentally hit CTRL-V and never noticed because you obviously did not proofread this?

You get the point. But I totally see the utility of Beta Readers, and fully encourage their use. Betas can be incredibly helpful in clarifying your weak points — and encouraging you by pointing out what’s working.

In terms of useful partners in the service of improving your writing, something else most of us can use is a Beta Reader for reading.

Let’s Get Weird

One of the most important things a writer can do is read. Reading a lot of books in the genres and styles you work in can help you improve your writing and make it more marketable. Reading outside your comfort zones can improve your writing and make it more interesting.

The latter can be challenging. We all have blind spots, and we all have comfort food when it comes to books and stories and other reading. Even when we make an effort to read authors from diverse backgrounds, or genres we’re not familiar with, we can easily fall into patterns that dilute the effectiveness of the strategy.

Having someone who will gently guide you to books you’d never normally consider reading — a Beta Reader for Reading — can be a tremendous help. My own BRR is my wife, the formidable Duchess. The Duchess reads voraciously, and reads books I wouldn’t normally get anywhere near. But when she really enjoys a book, she puts it on my TBR pile and insists we have a mini two-person book club about it. And because she is The Duchess and she is formidable, I pretty much have to.

The results are good: I read books I wouldn’t normally read, or even glance at. I don’t always love them, but that’s not the point: My world is widened, slightly, but reading them. Having someone who is willing to push my reading boundaries and come at them sideways is a powerful way to do that, to make your reading count more.

Now, if you’ll excuse me, I have to practice using my calisthenic powers to make bottles of beer float over to me, or die trying.

The Art of Questioning Yourself

I know this will come as a shock to you, but I have a pretty healthy self-regard. I like myself, a lot. Other people? Not nearly so much. Cats? It’s close … but I still win.

That doesn’t mean I’m not well aware of my flaws, and there are many. Many, many flaws. In fact, it’s probably not crazy to say I am more or less 90% flaw at this point. If I was grading myself as a person, I’d give myself a solid C minus. And yet! I am still my own favorite person. I think this is healthy.

The reason this comes up is because one of my many, many flaws is a tendency to get inside my own head and be a walking Bubble. This means that I sometimes lose objectivity, because I do things a certain way and I’m the only one aware of it, so there’s no pushback. There’s no one there to tell me I’m full of shit.

Which is fine if it’s just me, wearing an old school backpack as underwear and generally living like an animal, as one does. The problem comes when this sort of Bubble Thinking makes its way into your writing, because the worst time to discover you have some very strange blind spots is immediately after you’ve pressed PUBLISH on a story or novel.

AAYAAJ

Here’s the rule: Always Ask Yourself ‘Am I a Jackass?’

Look, we all get some strange ideas, habits, and attitudes. Normally, social interaction will correct these over time. You go out with other human beings and pick your nose at the dinner table, someone will gently correct you. If you go out on a date with someone and tell them that you believe the world is flat and secretly ruled by the Moon Men, they will probably correct you. Or back away slowly while dialing 9-1-1, but either way you at least get the general sense you’ve fucked up, and over a long enough timeline this should lead to introspection and adjustment.

But sometimes we manage to smuggle some serious weird shit into our writing, and if we never question it, it’s gonna get published that way. And you may not even be aware of your odd attitude towards women, or ethnicities, or economics. That is, until you publish a book filled with pervy male-gaze bullshit or elaborate justifications for racism or secret Moon Men conspiracy theories presented as fact, and that correction comes far too late.

This isn’t an endorsement of censorship, self- or otherwise. But when you’re working in the silence of your own brain, it’s easy to sometimes to lose objectivity and believe some seriously Moon Man-esque stuff. The challenge is that when you are your only audience for ideas, it seems like it all makes sense — until you unleash those views and crash into reality.

I read a lot of books. Some for pleasure, some for work. I get sent a ton of ARCs and galleys and such. And I can’t tell you how often a writer — usually, though not always, self-published, because when you self-publish you sometimes lack the people who are being paid by someone other than yourself who will be happy to tell you how full of shit you are — will drop a nuclear bomb of insanity in the midst of their story, and do so casually because they assume everyone shares their serene opinions, or their way of describing women, or their theories on proper behavior. A single conversation with another human being might have demonstrated how wrong they were, and saved us all a lot of trouble.

Now if you’ll excuse me, I have to finish my story about how everyone is mean to middle-aged white writers because we are universally awesome.

Don’t Show Your Work

Research. Some writers love research, and dive into it with relish, excited to learn everything they can about whatever subject they’re digging into. Some hate research and its superficial similarity to schoolwork, finding it more fun to just make stuff up. And many of us writers fall somewhere in the middle, moving up and down on the spectrum depending on our goals for the day and our level of hungover-ness.

And that’s fine. Like everything else in writing, there’s a spectrum. Sometimes research is the key ingredient to verisimilitude, sometimes you can get by on a fine mist of bullshit. Sometimes you start a book thinking you can get by without research and then have to shift gears halfway through when your bullshit fails you, and sometimes your research into a subject actually kills your interest in writing about it.

The only reliable way to screw up research is to show your work.

S-M-R-T

Research can be hard work, and invariably your research will lead you to knowing way more about a subject than your story probably requires. But that’s how it goes: You’re writing a story with a character who is a beekeeper, and you realize you need at least a passing familiarity with beekeeping to pass the smell test. So you start reading, and three weeks later you emerge visibly thinned and malnourished but just bursting with beekeeping knowledge.

After your stay in the hospital, you come out better able to write that story. But suddenly the three or four passing details that give your beekeeping character a sense of realism seems kind of a waste. You are, after all, now an expert. You worked hard for this knowledge. You want to get it all in there.

Or, perhaps, you really are an expert, and you’re writing a novel based on your own personal and professional experience. The research isn’t really necessary, then, of course — but you still might be tempted to make an effort to pack in all of your expertise.

Please don’t.

Verisimilitude is a delicate thing, and it’s very easy to drown it in detail. When you experience the urge to gin up endless lecturing exposition and whole scenes dedicated to demonstrating how much your characters (and thus, you) know about a subject, take a step back. Your readers will know when they’re being lectured, and they will keep receipts. If you force them to read fifteen pages about beekeeping trivia and none of it pays off in any way in the story, they will not forget. They will not forgive.

The question you should always ask is simple: Does my reader need to know this, or am I just showing off? There are plenty of reasons information is necessary for your reader, and you as author get to decide what is and what isn’t. But for the love of god, ask yourself this question before you have your POV character lecture me on Bitcoin for 4 pages for no reason other than to impress me with your vast knowledge of cryptocurrency.

Of course, in real life none of this applies. I am a popular dinner guest, for example, because of my exhaustive knowledge of Weird Songs Jeff Put on a Mixtape in 1990.

The Distillation Process

No, this will not be a post about whiskey. At least not directly. I mean, in a sense every post on this blog is about whiskey, because whiskey is like The Force: It surrounds us and penetrates us, it binds this blog together.

No, this post will about writing a novel, because that’s one of the four or five things I have anything intelligent to say about (the others being myself, baseball between the years of 1978 and 2010, yarn, meatballs, and your odds of ever winning the lottery). Specifically, this post is about the process of writing a large portion of a novel — sometimes the entire novel — only to realize what the damn thing should actually be about.

I’m not saying this just happened to me. But it has happened.

40,000 Words of Hot Garbage

Whether you’re a Pantser or a Plotter, there’s always a point when you think you know what your book is about. And sometimes you discover that you’re wrong about that, and sometimes that moment comes when you’re already significantly along in the novel-writing process. Like, tens of thousands of words. And then you suddenly realize that your focus is off — you’re using the wrong POV, or concentrating on the wrong character, or cutting out the wrong stuff.

Whatever the reason, this is okay. This is a process of literary distillation. You just steamed off tens of thousands of the wrong words. The worst reaction you can have is to view this as wasted time. That’s totally wrong — sometimes you have to write those wrong words to figure out what the right ones are.

That’s the lesson here: When you’re writing a novel, any work you do is worthwhile. There’s no such thing as wasted time. Even if you don’t actually complete this novel, chances are the work you put into it will pay dividends later, either in ideas, or material you can re-use, or simply a better understanding of your craft and your best way of working. Once you boil off the stuff that’s not working, you might be left with pure gold.

Although, full disclosure: I do like to play up the despair when a novel collapses, just to have an excuse to drink heavily for a while and pretend I’m F. Scott Fitzgerald.

The Frog in the Well Problem

Writing is either the greatest and most satisfying adventure in existence or an ongoing existential hell akin to having your paper cuts soaked in rubbing alcohol for ever, I can’t ever decide which. Some of that ties into where, exactly, I am in terms of the writing process. Just finished a story I’m very excited about? Writing is a joy. Mired in month 15 of struggling to force some coherency into an otherwise doomed narrative? Writing is torture.

One scenario that is particularly painful is when I’m making progress on a story but it’s slow, and I keep having to add material to apply new ideas or understanding. The result is what I call the Frog in the Well: Two steps forward, one step back.

To Infinity and Beyond

What happens in this scenario is that the end of the book never seems to be any closer. Even though I’m doing good work, even though I’m eating up plot and moving characters along, there always seems to be a static amount of work to do. And when I do make measurable progress, it usually sparks a new creative line that requires some backtracking and back-filling of the story to shore up.

None of this is bad, really. Progress is being made and I’m generally happy with what I’m producing. But it’s frustrating as hell because I can never seem to see the end. So if you’re dealing with something similar — the apparently endless project — what can you do?

One thing that works for me is to go back and re-read what I’ve already written. I’m often surprised at how much I’ve already forgotten, and sometimes it’s comforting to see how much progress I’ve actually made.

Sometimes I actually jump ahead and work on the ending. Why not? I’m a god here, I can do what I want. This can get messy, because inspirations that occur while writing the ending can require more back-filling, thus extending the length even further. But if I can flesh out the ending at ll it helps me feel like there’s a plan, at least.

Of course, then I finish the story and after three seconds of quiet satisfaction I will panic at not working on anything, and it all begins again. Which, come to think of it, is very similar to my hangover cycle. Food for thought.

The Problem with Being Cool

So, maybe six months ago I started a story. It doesn’t matter what the story’s about; it’s not finished yet anyway, because as I’ve aged things just take longer, probably because of my slow slide into senility and death. The reason I mention this is because when I wrote the opening lines all that time in the past, I had the characters use the term ‘karen’ in its current memey definition of a privileged jerk thinking demanding special treatment. At the time, the term was still kind of bubbling under and felt very inside baseball, at least to me.

Yeah, it’s going to come out.

The thing about cool, topical slang and stuff is that it really appeals to writers. We’re Word People. We love to discover a new expression or a bit of jargon that not everyone knows. You slip it into a story and instantly it feels like you’re part of a Mystery Cult that worships your story.

But there’s a problem: What seems like Inside Baseball for the Cool Kids can suddenly become an overused piece of pop culture that people roll their eyes about.

Streets Ahead

You’ve got to think hard about any cultural reference you make in a story. Something that seems fresh and subversive in January might seem old and dated in March. I mean, there was a time when inserting a reference to Where’s the beef? or Wazzzuuuuuuuup! would instantly get a hearty laugh out of your audience.

Not familiar with those? Exactly!

Of course, this goes beyond language — you generally have to worry about how any pop culture reference will age, and I’ve written about that before. But I’m pretty settled with movie and TV references. I rarely include them, even in my contemporary fiction, because I’ve drilled it into myself that this is a fast ticket to Dated Town, Population: Streets Behind. Language is trickier. Some jargon and slang remains underground more or less forever, and sometimes including it seeds your story with the precious resource known as verisimilitude. As with all Literary Science, your mileage may vary and you may be capable of pulling off some shit I shouldn’t even attempt.

Still, next time you decide to include some current meme flavor in your writing, take a moment and imagine how it’s gonna play next year.

Idea Origins

Like any writer, I’ve been asked numerous times ‘where do you get your ideas’? I used to react to these questions with a snarl and a sarcastic remark, followed by a sassy strut accompanied by the theme music I hear constantly in my head1. The reason for the reaction was due to the nature of the question: It’s both incredibly complex and brutally simple. I steal most of my ideas from stuff I read, watch, or listen to, and I have no idea how the process actually happens in my brain. How do I go from watching a rerun of Community on a Saturday night at 3AM after drinking an entire bottle of Scotch to writing a novel about superintelligent cats who subjugate mankind and make us all run around randomly so they can chase us? I have no idea.

Now that I’m older and more mature, however, I realize that this impossibility is exactly why people ask the question. How do you know if your ideas are any good? Sadly, there’s really only one way: You spend several years of your life writing them, and then show as many strangers as possible. Which is a lot of investment for someone who doesn’t have the careless, unearned confidence that I have. So I’ve taken to being more thoughtful about my responses to the ‘ideas’ question, and one thing I’ve realized is how often I have to have an idea several times before it actually turns into something resembling a good story.

Trickster Mark One

Take my novel Trickster, which morphed into the novel We Are Not Good People. I had the original idea that formed the kernel of that story back in 1995 or so; a flabby, not particularly good short story in which a stunned drifted encounters a man floating several inches off the ground as pigeons sat on his shoulders and head. The old man tells the drifter that its easy to do magic, you just have to be willing to be alone.

It wasn’t a great story, but it was a great tone, and the central image stuck with me. I carried that idea with me for twenty years or so. I never re-worked the story, though hints of it made their way into other stories, references to the old man, to the drifter, the fucking pigeons.

When I finished the Avery Cates series in 2010, I started thinking about what I wanted to write next. I found myself thinking of the old man again. That central idea — magic was possible if you’re willing to be alone, really, truly alone, came bubbling back and slowly morphed into the idea of blood magic, magic that literally stole lives to function. That, I thought, was loneliness, and I was off to the races.

In a way, I stole from myself. I developed an idea into a bad story in 1995. That kept the idea preserved in amber over the years, so when in 2011 or so I chipped the amber away that idea was still there, fresh and ready.

That’s one reason why I write a short story every month in a notebook. Most of these stories are terrible–but they each enclose an idea that I might be able to use later. I also write these stories because an old witch once told me the month I don’t write a story is the month I die, but that’s a whole other post, man.

Lazy Writing: The Inevitable Plot Point

Plotting a story can be complicated stuff, as any writer will tell you. Sometimes plots come to you in linear form, with an idea for a beginning that then leads you to characters who then lead you to the ending. Sometimes it’s the other way around — sometimes you think of an ending, or a plot twist in the middle, and you find yourself working backwards from there.

Which is fine, as long as you put in the work to make your plot point or ending seem organic by the time you get there. Because if you don’t, you wind up with a twist or an event that won’t feel even slightly real to your readers.

The Dark Knight Rises

The Dark Knight Rises, the third and concluding film in Christopher Nolan’s blockbuster superhero trilogy, is generally regarded as the weakest of the three films (for good reason). While it’s seen an uptick in critical assessment in the ten years or so since it was originally released, there’s one plot point that prevents it from ever being considered a, you know, actually good movie: The police in the sewers.

Police Commissioner Gordon, ostensibly a smart, experienced law enforcement professional, decides to send the entire police force including himself into the sewers to thwart villain Bane’s plans. This is … insane? Incompetent? Yes! But mainly, it is required by the plot. Nolan needed to get the police out of the way or the rest of the movie made even less sense, and so that plot point became inevitable: The police wind up trapped in the sewers because the police had to be trapped in the sewers. It makes just that much sense.

Westworld Season 3

More recently, we have Westworld, season 3 on HBO. Every season of Westworld follows the same pattern:

  1. Intriguing beginning, with smart world-building.
  2. A slow slide into stupidity.
  3. An unearned finale.

This most recent season was no different. The first few episodes were pretty solid world-building of a near-future world outside the Delos Park. It felt like a world that might inspire a park populated by human-like androids you can rape and kill with impunity. It had interesting ideas. And then it slowly narrowed down to a point where civilization collapsed … because an AI predicting your eventual fate based on collected data about your life has predetermined your fate.

Now, that’s not a bad idea, on paper. There’s a story where this moment, the moment when the world is clued in to how they’ve been manipulated and decides to go insane in response, is earned. It is not this story, though, because they’ve done exactly zero work to earn it. You can tell without any doubt that the writers decided where the story needed to go first, and then tried to build a story backwards. And that’s why the story feels awkward, and forced.

When you have a predetermined ending to your story, you have to work very hard to make it feel natural. If you’re not careful, it can feel very stiff, because it’s dead space. It’s already been written, it’s already there, as opposed to being a blank, writhing space that the writer is striving towards.

When you’ve got a predetermined point you’re writing towards, there’s a tendency to rush, to leave out all the organic little bits that make your story feel alive and rooted in the gravity of the real. You just keep rushing towards that end point, certain that once you get there everything will be forgiven. But that’s rarely the case.

Modeling Characters

For writers, making up stories is the fun part — but there’s a lot of daylight between the fun, free-association process of being inspired with an idea for a story and then actually writing that story. There’s a lot of work involved in plotting it out, making sure the logic works, building a universe for it all to happen in — and crafting characters to populate that universe and perform the actions that move the plot along.

For some, characters are the hardest part, because people are unpredictable chaos machines. You can imagine a building, or a magic system, and they will follow some basic rules you can rely on. People don’t so that, and if you create characters that follow a blueprint they won’t feel particularly real; part of what makes people people is their inherent randomness, the way they do things that surprise and frustrate and amaze you. Capturing that vibe on the page is hard work.

But it can be easier than you think. Just try modeling.

Dammit, Jim

I spoke at a college writing class a few months ago, and one of the students asked me about figuring out their characters’ voice. I suggested they try this one weird trick:

  1. Think of a celebrity with a distinctive communication style. William Shatner as Captain Kirk, or Jay-Z with that weirdly compelling coughing noise he uses to punctuate his lyrics.
  2. Imagine your character is speaking in the same way as you write their dialogue.

To be clear, do not try to convey Captain Kirk’s oddball rhythms. This is something you do in your head, while you’re writing. What happens, though, is that your character’s lines subtly take on those rhythms. You shape the phrases to them. It all comes alive, and if you resist the urge to make it too explicit your dialogue will have a bit of dance to it that isn’t obvious.

If you match the voice you’re using as a model to the character as closely as possible, this will also help you ensure that your characters don’t all talk with the same rhythm and phrasing, which is one of those subtle problems that are easy to overlook right up until someone points it out to you.

Of course, you have to be careful not to slip over into parody — and you don’t have to use celebrities. Have a friend or family member with a distinctive speaking cadence? A character in the neighborhood with a recognizable style? That’ll work just as well — perhaps better, since there will be no chance of your model’s subject being recognized.

Me, I just model every character on myself, since I have a such a beautiful speaking voice. Which I know because of all the hours I’ve spent talking to myself.