Happy Endings Resistance
“I love the ending. I don’t think it could have ended any other way and it was excellent. Not every story has a happy ending, and I am glad you didn’t shy away from that like many authors would.”
“I love the ending. I don’t think it could have ended any other way and it was excellent. Not every story has a happy ending, and I am glad you didn’t shy away from that like many authors would.”
So, the other day I was kvetching about writing on the road and how little actually gets done, I did, in fact, get some work done on the planes yesterday. I’ve remarked before how airplane travel, with its associated miseries, actually inspires good work from me. All my life, the more bored and unhappy I am, the better the writing I do is.
Then, of course, after knocking down a few thousand words on the plane and feeling like a genius, I had a mishap with the computer and the thumb drive and, yep, didn’t save any of it.
After the Sky Marshals released me from restraints and sent me back to my seat with a stern warning, I sat weeping for a while. I wept all the way home, which may have something to do with the speeding ticket and accident. And then, a miracle! I sat down later that not and re-wrote the section, and goddamn if it wasn’t better.
This doesn’t happen often, to me. Usually lost work is always enshrined in my memory as superior. I’ve written and lost some award-winning scenes, bubbas. Usually when I sit down to re-create them, they are pale imitations. Not this time! This time I actually came out on top. IT’S A XMAS MIRACLE!
Look for the HallMark Original Movie next year: The Alcoholic Writer Has A Good Day. Hopefully this will inspire a series of Alcoholic Writer feel-good movies. I could play myself!
One of the joys of having a Blog is being able to post whatever the hell you want. Used to be, a novel that fizzles after 23,000 words like this one would just rot in a drawer unless and until I thought of some way to save it. No more! Now I can post chapter one on a slow Monday just for fun. So, herewith, I give you
This is the story of how I murdered fifty thousand people.
It starts with one murder.
It was a holiday – Execution Day. The mob had started lining up for a good view an hour before, ruining my sleep. I stared up at the ceiling, tracing the cracks in the plaster.
Next to me, she snored. For such a handsome woman, the Lady of BarJef snored like a penny whore. And I knew my penny whores.
I pushed my way out of the bed and stretched until I was rewarded with several loud pops. My back ached. The fresh bruises on my arms had gone purple in the night. It was strangely pleasurable to feel their burn and throb, to relive the echo of those heavy wooden bats. Less pleasurable was my aching head: Three mugs of strong northern cherry liquor too many, as usual.
Naked, I ignored my urgent bladder and stepped to the blurry windows. Pushed one open, leaning out into the thick air, already hot. I scanned the milling crowd, scheming and jostling – and soon, fighting – for position in the huge courtyard. Normally off-limits, one day a month it became a boiling theater. I thought I could almost smell them, these fat, sweaty people, overdressed for the cursed heat of Salan, eager for the fun.
The platform had been erected overnight, in stealth and silence. The ancient block sat like a wart of blackened, polished shadow. Wood, I’d been told. Petrified and stone-like. Carried from the homeland across the mountains so we wouldn’t have to cut one special when we felt like beheading someone. Ancient and revered. I didn’t even like to look at it. How many heads had been chopped off on that ugly square of dense, heavy wood? Thousands, I thought. Tens of thousands. And six more today. Six! Not so long ago six executions would have been an embarrassment. But these were low times. Five simple criminals, convicted by acclamation and held in the palace jails for weeks, now to stand blinking and trembling in the sun for a few moments before Lekum pushed them onto their knees, pronounced their crimes, and separated them from their heads. Five simple beheadings, no challenge to Lekum and his massive shoulders and unkempt beard – a True! Heran! Hero!, my Lekum – but the crowds were swelling because of the sixth. A traitor. No simple beheading for her, thank goodness. Lekum would get some exercise.
We were not a civilized people.
As some of you know, I’ve been playing guitar for a few years now. And, yes, posting my terrible, terrible songs to the Internet. You cannot stop me from posting my terrible songs to the Internet. Because I am not a guitarist, so I cannot be shamed on this point. I’ll continue to steal beats from led Zeppelin and riffs from AC/DC and posting the results here.
Learning how to play guitar has reminded me of my earlier years as a writer. As in, my adolescent years. Like just about everyone in the universe, I first started writing when I was a kid, a wee lad of about 10. So I’ve been writing for a loooong time, bubbas, and forgotten what it was like to just start out, y’know?
Learning and playing guitar has reminded me though, because there are parallels. I like to flatter myself that I have some ability as a writer, whereas the guitar is just for fun, but they’re both creative experiences and the path is similar, sometimes. Here’s a couple of things learning to play the guitar has reminded me about writing:
1. When everything is brand new, it’s easy. Every time I learn a riff or technique on the guitar, it’s an exciting moment that unlocks a lot of immediate ideas. BAM, I’m working on a song using those ideas. That’s how it was in the beginning when I wrote: Everything was new, so writing new things was easy. Thirty short stories a year? No problem. Every story I read, every class I took gave me new things to use. The work I was doing wasn’t very original, but it felt original to me, because it was all new stuff. I read Ulysses and spent the next six months writing stream of consciousness like I’d invented it.
2. Stealing Is How You Do It. The meager skills I have on the guitar are the result of a few things — some lessons, practice, and most importantly learning other songs. Every time I learned a riff or a solo from an old song, I immediately began plotting to steal it. The earliest of my songs reflects this pretty baldly, as you can literally hear badly-played riffs from classic rock songs brazenly arranged in my own fumbling style (which is charming, right? RIGHT?). These days I’m better at taking a riff as inspiration, playing with it, adjusting it, putting it into a new context and running with it.
That’s the same way to write. read good books and stories. Burn with jealousy against them. Drink yourself into a stupor because you’ll never manage anything nearly as good. Wake up in a ditch. Get washed up, eat something, take a nap. Then trudge to the word processor and steal the idea/technique. Keep stealing it. Steal it until it’s just part of your repertoire, until it’s natural to you. Then it starts slipping into stories without being showy, just another tool you use to tell a story. byt the time you sell something that utilizes the stolen element, it’s no longer stolen, it’s learned, and its yours.
3. Do it for fun. No one cares if I play guitar or how well I play, so there’s no pressure. I play because I enjoy it, I make my ridiculous songs because I enjoy them, and I post those songs because that’s what we needy, attention-whoring creative types do. The same goes for writing: Do it for fun. The writing, that is. The publishing should be for money, or some form of compensation, but the writing itself has to start off as pure enjoyment. Whenever I’ve spoken with a writer who writes from an income point of view, it’s always pretty depressing.
The ultimate point is, try new things. Learn new things. You will always enter that period of pure discovery and fun (suddenly I can hear Willy Wonka singing Pure Imagination in my head), once you get past that dreary initial period of frustration and Fail. Or am I the only one who had periods of frustration and Fail? Smug bastards. You’re all lying.
I was eighteen years old and entering my Freshman year at Rutgers University and already I’d managed spectacular, if invisible, failure financially: In what was to soon become the soundtrack of my life, I found myself submerged in debt, most of it mysterious and vaguely disturbing. I usually chose to not think about it. Since at the time I was in the middle of my own personal Pax Soberia (having had a really disturbing “oh Jesus, that smell is me” revelation recently, inspiring me into my first and last foray into the nondrinking world) I approached this problem of debt with uncharacteristic sensibility, and decided to get a job. Prior to the Pax Soberia I would have spent a lot of time trying to alchemize cash out of used beer bottles and cigarette filters. Newly arrived at the University, I eschewed this standard solution in favor of a radical new one: Get a job. I figured for someone with my personal charm and adequate IQ, earning money would be easy.
Located in the middle of a formless grey cloud I can only refer to as nowhere, my campus was basically a roiling sea of tightly-packed and pressure-crushed Engineering students, and almost nothing else. It was just a big plain dotted with dorms and parking lots, and that was it. There was a Student Center, of course, which boasted video games, a pool table, a Wendys, and a Pizza Parlor. The glittering, oasis-like Student Center bravely employed and occupied about twenty of the thousands of students on a nightly basis. The rest of us had to sit in our rooms spitting at each other for entertainment, or take a six hour bus ride to the other campus, where there were bars and stores and (rumor had it) Things to Do. Or, of course, you could manufacture designer drugs out of the materials on hand (cleaning solutions, toothpaste, couch cushc ions, etc) and get stoned.
Looking back, it isn’t very surprising that my Pax Soberia didn’t last very long.
Buried in the middle of this wasteland, though, was a small grocery store which had refused to sell out to the University when the campus had been planned, leaving it the only non-University building on campus, not to mention the only other jobs on-campus. And Lo! A “Help Wanted” sign hanging in the door on that long-ago September day when I finally woke up and thought to myself, Well, I’ve been here for two weeks, might as well go to a class or get that job, or something.
I showed up and discovered that I wasn’t alone in my desire to work for the grocery store. Dozens of others were there, filling out applications for the fifty hours or so of shifts available. The owners of the store new a good deal when they saw one, and they announced that we would each be assigned a test shift, and that after the week decisions would be made as to which of us would be lucky enough to earn minimum-wage stocking shelves. I took my assigned shift and promptly forgot all about it. How hard could it be to get a job in a grocery store? I’d observed the people who worked in the grocery stores back home and had always assumed their sole recommendation for the job was their ability to show up for it every day instead of killing themselves. I could do that. For a while. Especially since I could already tell that the Pax Soberia was going to end soon; a group of us had been hoarding grape juice from the dining hall, and it was silently fermenting in my closet.
When I showed up for my test shift a few days later, one of the co-owners, a short balding man in thick glasses, greeted me warmly enough and introduced himself as Mike. Mike ran me through my responsibilities quickly: Keep the store clean, stock the shelves, and run the register. It sounded simple enough, and I was encouraged when Mike got into details and demonstrated the first third of my job: Keeping the place clean. Sweeping, dusting, litter-detail — all these things were simple and easily within my (even then) withered abilities.
Mike then tried to teach me how to stock the shelves and freezers. This was more complicated than I would have ever imagined. The sodas in the freezer, for example, were to be stocked in a specific order, in a specific way. Mike showed me twice. Mike’s way of showing me was to perform the chore very quickly, without saying a word, and then turning to me brightly and saying “See?”
Having detected absolutely no pattern to the way he’d stocked the freezer, I nodded enthusiastically and said “Sure!”
Mike stared at me. At first I figured he could smell the ripe funk of my lie, and was simply waiting for me to Do the Right Thing. Then I figured it out: he was just staring. Mike liked to stare. Over the course of the next few hours of my employment, Mike stared at me a lot.
Next, Mike showed me how to work the register. Due to Mike’s habit of staring at me, I’d come to the conclusion that he and the two women he owned the store with were telepaths, communicating mentally. Thus it didn’t surprise me when there was no system of codes or UPCs for the approximately infinite number of products the store sold. Mike cheerfully explained that I would be expected to memorize all the prices of all the items offered by the store (listed in a oft-folded typewritten and hand-corrected booklet), do the tax calculation in my head, and count out the change. Then he stared at me until my hair began to singe a little.
Mike supervised my first transaction, which went fairly smoothly. Then he slapped me on the back heartily and went into his office. I finished out my four hour shift, shook hands with the next person up, thought HAVE A NICE DAY, MIKE really hard in Mike’s general direction, and went home to check on the fermenting grape juice.
The next day, I got a call from one of the other owners asking me to stop by. Figuring that my use of the New Math at the register had netted them big profits and I was about to be offered a partnership, I stopped by later on that day. I was ushered into .their office where Mike and one of the others sat waiting. A check was handed to me, and I was informed that they appreciated me coming in for the one shift, but I hadn’t made the cut.
I was dumbfounded. I’d never been fired before. I’d never gotten a failing grade before. I felt like I was about to cry. I managed to ask what I’d done wrong, in some pathetic effort to salvage knowledge, if nothing else, from this horrible incident.
Mike leaned forward and stared at me.
“You didn’t stock the sodas correctly, Jeff. And I showed you twice.”
I floated gently out of the store like they do in Spike Lee movies, staring down at my first and last check. I was numb. Not only had I been rejected by a dumb, hole-in-the-wall grocery store, but my financial morass had suddenly gotten much, much deeper.
If nothing else, I had the end of my Pax Soberia to look forward to.
The other day I was composing a song called Pants Are Death. I had a drum track I liked, a little chord progression that was fun to play, a lead melody line. A few solo licks in there for flavor. And it was fucking terrible. Somehow, all these ingredients, which on their own seemed so cool when I was composing, mixed together into something no one — not even me, its creator — would ever want to hear.
I finished it anyway. Because that is what I do: I finish things.
I don’t know about y’all, but about 95% of the creative endeavors I try fail. Most fail so spectacularly I seal them up inside lead-lined capsules and dump them at sea, where they will be safe from discovery until approximately the heat death of the universe. I suppose I could destroy them instead, but they’re still my creations and I can’t bear the thought of burning them or deleting them using some sort of military-grade hard-drive scrubber. If they’re under the dark waters, slowly encrusted with sea life, at least they still exist in some sort of Schrodinger’s way.
Still, despite this discouraging failure rate, I finish things. As long as they’ve reached some sort of critical mass in terms of length and energy invested, I finish these horrible, horrible songs and stories and novels. I have no illusions. The number of borked projects that can be fixed by pouring more and more words/notes into them is exactly: zero. Zero projects can be saved once you realize they suck. But I finish them anyway, because I must.
I can’t explain why. It’s just conservation: When I’ve already crafted 20,000 words for something and it’s just complete shit, I have a choice: I can have 20,000 words of unfinished, useless shit, or I can put another 10,000 words into it, type THE END, and have a really crappy novella to bury at sea and have feverish, tortured dreams about. I always, always choose the latter. Somehow the time and energy saved just walking away never seems nearly as important as making the time and energy already invested mean something.
I do cut corners. Once I realize that smell that’s making me gag is my own novel, the goal is to finish it. That’s it. This sometimes involves a Plane Crash Ending, wherein all your loose ends and unresolved character arcs die in some horrible accident, leaving you with one solid theme to wrap up in a few hundred words. Sometimes this involves the Aliens Make Cookies ending, wherein you just throw logic and consistency out the door and decide the preceding was some sort of Twilight Zone mindfuck even though there was zero indication of that. Sometimes you just Time Travel to the ending and mention 30,000 words worth of story in a sentence.
It doesn’t matter, because it’s going into the lead-lined capsule, dig?
I know this isn’t normal. Neither is refusing to wear pants, drinking a fifth of Wild Turkey, and waking up two weeks later with a fake ID and a bag full of live chickens in Mexico, but that’s how I roll.
You know, I try to be levelheaded and rational. Sure, there are crying jags for no reason. Drinking binges. Days when I build a fort out of my couch cushions here in the Fortress of Somers and refuse to emerge for days at a time, sulking. But, you know, rational. As they say in Singin’ in the Rain: “Dignity. Always dignity.”
In truth, though, I am riddled with horrifying superstitions. The problem is, writing is a semi-magical experience. I have no idea how this thing works. It’s like someone bequeathed me a speedboat in their will and had it delivered to my driveway. The controls are in Chinese and there does not appear to be an engine, yet every time I step inside I somehow get the thing started and magically end up coasting on the water. And, since I am burying myself in an awkward and unnecessary metaphor, let’s also say there is Unicorn on board who is my first mate and speaks English and who can make bottles of Scotch appear magically!
In other words, I have no idea how it works. As a result I live in constant fear it will just … go away.
Every artist in history has that moment, when you look back on their careers objectively, when they lose “it”. When their new work doesn’t have the spark of their earlier efforts. When they start to be boring, repetitive, uninteresting. No one sees it in themselves. There is no warning. It just happens.
This kind of complete lack of control over your own brain chemistry and the ongoing massacre of cell death in my brain makes me superstitious. I write in certain ways, at certain times, using certain materials not because of any real physical advantage, but because it’s how I’ve been doing it since I was 11, and if I change it up now, I might destroy this fragile mysterious thing that keeps giving me ideas.
I have made adjustments from time to time; I’m not completely insane. Just partially insane. I used to write all my long pieces on an old Remington manual typewriter that dated to the 1950s, but I haven’t used it at all in about 7 years, finally bowing to the modern world and using a word processor for longer pieces. I still write my short works longhand in a notebook, however. Although recently I did do the unthinkable and switch pens.
That’s right: I switched pens. And sweated the consequences.
For years, I used a Paper Mate blue pen. White body, blue cap. I bought them in packs of 10 and invariably the last two or three were more or less useless by the time I got to them I could only write my short stories using these pens. Why? Because those are the pens I chose in High School when I started writing short stories out longhand. For 25 years, I used those pens, despite the fact that, frankly, they suck. They dry out fast, are inconsistent regarding ink color and smoothness, and hurt my hand when writing. But the unseen and possibly imaginary gods of writing that I feel staring at the back of my neck required these pens, so I stuck with them … until about 6 months ago, when I switched to Bic Velocity Gels.
Still blue ink, of course.
You may laugh at me and wonder at a grown man who worries about such things, but frankly I was pretty sure the ideas would stop immediately, and I’d have to go into my plan B career: Rodeo Clown. I had the Clown College application filled out and everything. But so far, so good. Lord knows we won’t know if any of these stories are any good until someone else actually reads them, but I’ve written six of them so far with the new pens, and that’s something. Don’t mock me.
It occurs to me that it’s been 10 years, more or less, since my first novel, Lifers, was published. Originally written in 1997, Lifers is the sordid tale of three young men who plot to rob the office where one of them works, more as a rebellion against settling into maturity than anything else. It’s not a very long novel. It doesn’t have a happy ending, really, though there’s no tragedy in it. I didn’t have an agent back in 1999 when I started shopping the book, so I went through The Writer’s Market and just mailed a query and/or samples to any publisher who would look at an unsolicited submission.
I heard back from an outfit called Creative Arts Books out in California, a small press. They sent me your standard subsidy-publishing ambush. Nowhere in their listings did they call themselves a subsidy/vanity publisher (and I believe for a long time prior they actually had been a traditional small press), but suddenly they were offering to “publish” my book for a fee. Despite being young and agentless, even I was not stupid enough to fall for that. This was actually the third time I’d been ambushed by subsidy publishers – twice before I’d sent a query off to a company that made no mention of vanity publishing, only to get what I’ve come to call the “In These Difficult Economic Times” letter, where they claim that it is no longer possible for a small press to publish new authors unless the author is willing to pony up part of the printing costs of the book. Sometimes they offer you a bigger royalty as a carrot in this deal, but the fact is once you pay for the printing of the book they’ve actually already made a profit off of you, and therefore have very little reason to market or even distribute your novel.
So, I told Creative Arts to fuck off. No, really, I did. I wrote them a letter back saying fuck off, burn the manuscript, you suck.
Once again back is the incredible, rhyme animal, the young cannibal, me: With another brief, somewhat entertaining video:
Enjoy!
I was chatting with another author about a work-in-progress the other night. This is unusual in that I a) dislike people and b) dislike other authors almost on sight, as a rule. Well, dislike is the wrong word; there are actually quite a number of other writers I like just fine, and a few I even enjoy. Don’t tell them, or they’ll start expecting me to pick up bar tabs.
Anyways, this writer – we’ll call him Mr. Bean – was asking me my opinion of the ending of his work-in-progress, which amounted to what I like to call a Titanic Ending: You’re tired of writing the damn story, so you just steer for an iceberg and let it sink. I told him so, and after an awkward pause he confessed he had another idea for the ending. He told it to me, and it was so much better I physically assaulted him. After we convinced the waitresses at Stinky Sullivan’s in Hoboken to release us and promised to pay for the broken table, I bought Mr. Bean another whiskey and asked why he was not going with the clearly superior ending, which had actually been his original intention.
He said it was a simple matter of mechanics: Earlier events in the story had precluded the ending, made it impossible.
So, I hit him again. Don’t writers realize they are gods in their own universes?
You can do anything in your story. Halfway through a historical novel set in Edwardian England you can have aliens show up and start melting brains. If you’re writing a locked room mystery, you can go back to chapter 1 and insert the innocuous clue that makes everything fall into place. Jebus, within the confines of your story you can make anything work. It’s like the Reverse Chekov’s Gun Principle: If suddenly realize you need a gun to go off by the end of your story, go back to chapter 1 and put in a damn gun.
It is surprising how many writers don’t seem to realize this. You are writing fiction. You are, in scientific terms, making shit up. If a detail you invented earlier doesn’t work, go back and change it.
Unless you are, as I notably am, lazy. My biggest dread when routing a new novel is the terrible Logic Revision, wherein someone notes either a major flaw in logic (e.g., “How come the hero didn’t just use his magic flying shoes to escape the prison?”) or introduces a brilliant suggestion that makes my storytelling seem like the work of drunken moron. Er, more like the work of a drunken moron. Shut up. These sorts of suggestions require major surgery, months and months of chaotic, confusing revision that sees me trying to salvage as much of my previous work as possible, papering over problems with paragraphs of new text, and sleepless nights until I finally realize I’ve made a mess of it, burn the manuscript in a drunken revel, and then burst into tears when I remember that this is 2011 and burning the manuscript doesn’t do anything except set off the fire alarm and summon my wife The Duchess, who then hides all my whiskey bottles.
However, when I wake up hungover and bleary the next day, I always realize that I am, after all, god in this little written world. I go back and start over. And I can always make it work, because I can change the fundamental truths about my world. I can make things appear and disappear. I can change the history of a character. I can introduce new people who never existed before and delete others from the world so thoroughly they are burned out of the pattern, so to speak. The dreaded Logic Revision hurts, but it isn’t anything that can’t be accomplished with some concentration and hard work. Any writer who retreats from a good Logic Revision deserves to have their novel sit in a metaphorical drawer, never to be read.
The ancillary rule to this is simple: The less you want to do the revision, the better the revision probably is. When I get feedback and my reaction to suggested revisions is a shrug and a vague determination to, sure, why not, do it someday, then that revision is probably just polishing the silver. If my reaction is to drop to my knees and scream out a good old fashioned do not want to the universe, chances are the suggested change is going to make me famous when I win some sort of book award. If I wrote the sort of books that won book awards, instead of just jealous emails from other writers at 3AM. You’re all jealous. I can feel it.
Someday, when I am rich and powerful I will force the publishing overlords to publish my novels straight from my zero-draft file. All logic gaps and misspelled words will be “poetic license”. Even if I’ve combined two completely unrelated stories via the simple technique of pasting one file onto the end of the other, they will print it! Oh, the day will come, my friends. Until then, I revise, and I am god.