Monthly Archives: September 2013

The blathering idiot and falling

Love hurts

Love hurts

“Do you hurt yourself when you fall out of love?” Xenia asked.

The blathering idiot didn’t have an answer when she asked him a week ago, and he didn’t have an answer now.
It had always been the woman who fell out of love with him or maybe had gotten fed up with him, had her fill, and walked away, saying she had fallen out of love with him.

He did wonder now if Xenia asking was because she had heard something Zoey, Xenia’s mother. Had said.
Was Zoey falling out of love with him?

If so, what was he supposed to do? In the past – though there were not many of them, there were a few – the woman had announced it after the fall had taken place, saying things like: “It’s not you, it’s me.” Or, “I think we should spend some time apart.” This type of announcement usually came after they had already been apart a month.
In other words, the fall had already taken place and his heart’s shins were the ones getting barked.

“I hear that when you fall in love, that can hurt too,” Xenia said. “Has that happened to you?”

They were sitting in an ice cream parlor, the leaves already falling, but the temperature staying up. At least it felt that way to him. She had come back to the subject she had started talking about last week, just before he took her back to Zoey. He liked spending time with Xenia. She usually didn’t judge him, or at least didn’t judge him too harshly.

He had to think about that, too. Had he fallen in love with Zoey or had they just sort of got along well enough to stay in each other’s company – at least some of the time?

The blathering idiot felt a sudden desire – a pang really – to call Zoey and say with as much force as he could muster, “I love you!” Blurt it out even before she said hello.

Yes, that’s what he would do. He wouldn’t think about it anymore: he’d just do it.

Right now.

He’d just do it: right now. In person!

He bolted up from the chair, knocking it over. “Come on.”

Xenia had not finished her sundae. She brought a spoon full of sundae up to her mouth, and said in a muffled voice: “Where?”

“You’ll see,” he said.

They walked west and as they got closer to the house Xenia lived in, she said, “It’s too early to take me home. Mom’s still studying.”

“This will only take a minute.”

“No,” Xenia said. “You don’t understand. Mom’s studying.”

The blathering idiot stopped outside the gate at the end of the sidewalk that led up to Zoey’s house.

He paused and looked at Xenia. She was frowning and he thought he saw some sweat on her forehead.

“Is she … ah … studying with somebody?”

“Not exactly.”

“Then what exactly?”

Xenia looked away for a moment, then looked back at the blathering idiot.

“She … ah … told me not to tell you this.” Xenia shifted from one foot to the other. “But she’s sleeping.”

“Sleeping?”

“But you were asking me about falling in love and falling out of love.”

“Oh, that. That’s ’cause I sleep in a bunk bed and I keep falling out and hurting myself. I told Mom it’s because I keep having bad dreams. Mom says she can’t wait until I’m old enough to fall in love. Then, she says, I’ll really have bad dreams and hurt myself.”

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Director Jacob Kornbluth on Inequality for All | BillMoyers.com

Director Jacob Kornbluth on Inequality for All | BillMoyers.com.

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Photo finish Friday: “Pink”

Think pink

Think pink

Bobo thought he had seen it all. Then he saw this: a big bright pink elephant. He had to have it. It would perfect for his yard. His wife couldn’t object. It was the 1,000 pound gorilla he wanted to keep in the guest bedroom. It was an elephant. It would stay outside. And it would be the perfect complement to her pink flamingos — all 200 hundred of them strewn all over their lawn.

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Haiku to you Thursday: “Sunday”

If my lover were /

Sunday, passion’s radiance /

would subsume heaven.

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Writing tip Wednesday: “From on high”

REWRITING? TRY SOME “HIGHER EDITING”

By DAN POLLOCK

“Do you like Kipling?” goes the old joke. Answer: “I don’t know, you naughty boy, I’ve never kippled.”

At age 23 Rudyard Kipling’s sensational debut was comparable to that of Charles Dickens. “The star of the hour,” aid Henry James when Rudyard was only 25. “Too clever to live,” said Robert Louis Stevenson.

Astronaut in space

Higher editing

But the shooting star did not flame out. While he continued to produce stories and poems at a prodigious rate, he never joined his own rabid fan club. His approach to the craft of writing remained ever that of a conscientious workman. He edited himself ruthlessly.

“Higher Editing” he called it, and I’ll get to the specifics of his technique in a few moments.

My first thriller, Lair of the Fox, was sold on the basis of an outline and the first 100 pages to a small publisher (Walker & Co). The completed manuscript weighed in at 120,000 words – every one them perfect, I’ll have you know.

But my editor informed me that, in order to reduce their printing and binding costs, Walker never published trade books over 80,000 words. Would I mind cutting 40,000 words from my manuscript? I did it — with the help of Kipling’s “Higher Editing” method. And the book is much the better for it.

DIGEST YOUR WORDS
A famous American editor had this advice: “Play ‘digester’ to your manuscript; imagine that you are an editorial assistant on a digest magazine performing a first squeeze on the article to be digested. Can you squeeze out an unnecessary hundred words from each thousand in your draft?”

Mystery writer John D. MacDonald used the reductive process as an intrinsic part of his creative plan. A magazine profile once described him “tapping out the 1,000-page drafts that he whittles down to 300-page manuscripts in four months.”

For this reductive process to work, however, you have to put your heart and soul into that first draft, like Tom Wolfe or John MacDonald. Don’t edit or second-guess yourself the first time through; let yourself be driven forward by the compelling emotion of your story; to switch metaphors, trowel on the raw pigment, which you can shape later at leisure.

To quote editor Gorham Munson, “Write as a writer, rewrite as a reader.”

THE LEONARD METHOD
Elmore Leonard went from a journeyman paperback writer (westerns and detectives) to best-sellerdom and Hollywood fame by taking an opposite tack. He began to edit himself in advance – on his first draft. As he famously put it (his rule No. 10 of good writing): “Try to leave out the part that readers tend to skip.”

If you can do that, bravo! Most writers have to go back over their work and painfully cut out the deadwood.

Here is the method used by Belgian mystery master Georges Simenon:

INTERVIEWER: “What do you cut out, certain kinds of words?”

SIMENON: “Adjectives, adverbs, and every word which is there just to make an effect. Every sentence which is there just for the sentence. You know, you have a beautiful sentence — cut it. Every time I find such a thing in one of my novels it is to be cut.”

To quote Leonard again, “If it sounds like writing, I rewrite it.”

HIGHER EDITING
So we come, at last, to Kipling’s “Higher Editing.” Here he describes how he used it on his debut story collection, Plain Tales From the Hills:

“This leads me to the Higher Editing. Take of well-ground Indian Ink as much as suffices and a camel-hair brush proportionate to the interspaces of your lines. In an auspicious hour, read your final draft and consider
faithfully every paragraph, sentence and word, blacking out where requisite. Let it lie by to drain as long as possible.

“At the end of that time, re-read and you should find that it will bear a second shortening. Finally, read it aloud alone and at leisure. Maybe a shade more brushwork will then indicate or impose itself. If not, praise Allah and let it go, and ‘when thou hast done, repent not’…. The magic lies in the Brush and the Ink.”

—————-

Dan Pollock is the author of four thriller novels: Lair of the Fox, Duel of Assassins, Orinoco,and a specially commissioned “logistics” thriller, Precipice. He and his wife, Connie, a writer-editor, live in Southern California with their two children. You’ll find his blog at: http://clicks.aweber.com/y/ct/?l=O8uEK&m=IhM0eF8OM_LsQz&b=kuZLqdii5DpvdVIbrBuqlw

[Editor’s note: This entry comes courtesy of Bruce Hale. Bruce has written and illustrated over 25 books for kids. His Underwhere series includes Prince of Underwhere and Pirates of Underwhere. His Chet Gecko Mysteries series includes: The Chameleon Wore Chartreuse, The Big Nap, The Malted Falcon, Hiss Me Deadly, and others. More at http://www.brucehale.com/]

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Monday (morning) writing joke: “Turn of events”

A writer died and was given the option of going to heaven or hell.

She decided to check out each place first. As the writer descended into the fiery pits, she saw row upon row of writers chained to their desks in a steaming sweatshop. As they worked, they were repeatedly whipped with thorny lashes.

“Oh my,” said the writer. “Let me see heaven now.”

A few moments later, as she ascended into heaven, she saw rows of writers, chained to their desks in a steaming sweatshop. As they worked, they, too, were whipped with thorny lashes.

“Wait a minute,” said the writer. “This is just as bad as hell!”

“Oh no, it’s not,” replied an unseen voice. “Here, your work gets published.”

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Writer’s Digest Short Story Competition

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We’re looking for short stories! Think you can write a winning story in less than 1,500 words? Enter the 14th Annual Writer’s Digest Short Short Story Competition for your chance to win $3,000 in cash, get published in Writer’s Digest magazine, and a paid trip to our ever-popular Writer’s Digest Conference in New York City! The winning entries will be on display in the 14th Annual Writer’s Digest Competition Collection.

Wondering what’s in it for you?

A chance to win $3,000 in cash
Get national exposure for your work
A paid trip to the ever-popular Writer’s Digest Conference in New York City

How to enter: register and pay online or download a printable entry form. (Early-Bird Entry fees are $20 per manuscript.)

Link to details and how to enter: http://www.writersdigest.com/competitions/short-short-story-competition

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Photo finish Friday: “O’ 13: perverse verse”

Unlucky 13

Unlucky 13

O’ triskaidekaphobia —
don’t let it annoy ya —
your paranoia,
your frightened mind.

This triskaidekaphobia,
it will destroy ya,
I do implore ya,
your fear it will find.

Yes, triskaidekaphobia,
it will toy with ya,
and even enjoy with ya
superstition sublime.

Said triskaidekaphobia,
“I don’t want to bore ya,
but I’ll take Peoria,
at twelve Central time.”

Came triskaidekaphobia,
by way of Astoria
thirteen more than ya
hoped you could confine.

But triskaidekaphobia
was unlucky ya know ya
and took the thirteenth floor ya
and then fell to its decline.

Of triskaidekaphobia,
I’ll say no more to ya
because history will show to ya
that it will all intertwine.

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Haiku to you Thursday: “Saturday”

If my lover were /

Saturday, dabbled sunshine /

would sing from my lips.

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Writing tip Wednesday: “How to write good”

How to Write Good

Practice, practice, practice.

Practice, practice, practice.

1. Avoid alliteration. Always.

2. Never use a long word when a diminutive one will do.

3. Employ the vernacular.

4. Eschew ampersands & abbreviations, etc.

5. Parenthetical remarks (however relevant) are unnecessary.

6. Remember to never split an infinitive.

7. Contractions aren’t necessary.

8. Foreign words and phrases are not apropos.

9. One should never generalize.

10. Eliminate quotations. As Ralph Waldo Emerson said, “I hate quotations. Tell me what you know.”

11. Comparisons are as bad as clichés.

12. Don’t be redundant; don’t use more words than necessary; it’s highly superfluous.

13. Be more or less specific.

14. Understatement is always best.

15. One-word sentences? Eliminate.

16. Analogies in writing are like feathers on a snake.

17. The passive voice is to be avoided.

18. Go around the barn at high noon to avoid colloquialisms.

19. Even if a mixed metaphor sings, it should be derailed.

20. Who needs rhetorical questions?

21. Exaggeration is a billion times worse than understatement.

22. Don’t never use a double negation.

23. capitalize every sentence and remember always end it with point

24. Do not put statements in the negative form.

25. Verbs have to agree with their subjects.

26. Proofread carefully to see if you words out.

27. If you reread your work, you can find on rereading a great deal of repetition can be avoided by rereading and editing.

28. A writer must not shift your point of view.

29. And don’t start a sentence with a conjunction. (Remember, too, a preposition is a terrible word to end a sentence with.)

30. Don’t overuse exclamation marks!!

31. Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to the irantecedents.

32. Writing carefully, dangling participles must be avoided.

33. If any word is improper at the end of a sentence, a linking verb is.

34. Take the bull by the hand and avoid mixing metaphors.

35. Avoid trendy locutions that sound flaky.

36. Everyone should be careful to use a singular pronoun with singular nouns in their writing.

37. Always pick on the correct idiom.

38. The adverb always follows the verb.

39. Last but not least, avoid cliches like the plague; They’re old hat; seek viable alternatives.

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