Sharks.


I’m on vacation in beautiful Panama City Beach this weekend, courtesy of a father-in-law who loves it here and takes the family every chance he gets, and a school system kind enough to give teachers a four-day weekend in mid-October.  What’s that?  The kids get the long weekend too?  Meh.

I’ve been here before, but there’s something different about being here as an adult and being here as a kid, or for that matter, a pre-adult.  The opportunities for relaxation are virtually endless.  The beach is powder-fine and not too crowded this time of year, the water is a glorious iridescent bluey-green swirl, the temperatures are warm but not oppressive, the sunrises and sunsets are transcendent.

And I have ruined it all by peopling the waters with sharks.

Metaphorical ones, mind you.  I did see a shark here last time we visited — tiny one, about the length of my arm, just cruising the shallows like a deadly, silent Roomba — but I don’t think those are terribly common to these parts.  No, my sharks are sharks of the mind, because I have done a thing that I swore as a teacher I would never do: I have brought work with me on vacation.

I don’t have any excuse.  It’s a terrible move, but it’s the end of the quarter, I’m behind on grading (juggling 180 students will do that to a man, no matter how well-meaning), and it simply has to get done.  I’ve got a stack of about fifty student essays to grade and a gradebook full of back assignments that have to be put into the electronic grading system before I head back on Tuesday.

So as we pulled in to the condo and took the first breathtaking look at the view from our balcony, I saw not only the vast unknowable expanse of the ocean but also the ominous stack of paper tucked away in my bag.  I saw not only the pearlescent sands where my pasty skin will suffer hideous burns, but also the labyrinth of clicks and categories and long webpage loading times that I must walk to get all these grades put in.

In short, I look at that water and I see mothertrucking sharks.

Because I know that as soon as I let my bare feet sink into that sand, as soon as I dunk one toe in the ocean, the moment I watch my son’s face light up when he hits that beach, those papers and grades and all my obligations are going to melt away from my mind like so much butter on a hot plate.  And then they are going to devour me when I get back to work on Tuesday.  In fact, I’ve already chummed the waters, because in between the last sentence and this one, I brought the laptop out onto the deck with me and the cool night breeze is drifting through what’s left of my hair and the starlight is twinkling on the waves and the headlights are floating slowly past on the strip and all I can think about is how glorious my run will be in the morning and how many hours I can possibly let my son play on the beach before people start to question whether I’m his father.  (You know, cuz his skin will be a delicious ochre color before we leave, I’ve no doubt.)

This might be a time to panic with all these sharks circling about.  Or maybe it’s time to remember that these are only metaphorical sharks, and as such pose as much threat to me as a whiff of vegetarian pasta.  (Unpleasant, but not ultimately harmful.)  Times like these call for bigger boats, or maybe just bigger glasses of wine.

Mm, wine. Time to chum the waters a little more.

This post is part of SoCS.

TheMe (a Quandary)


That’s right, enough screwing around. This post is all about THE ME.  The big ol’ me, in all my… whats that?  Oh.  OHH.

Theme.  *ahem.*

Yeah, I guess that makes more sense.

Now, I’m not here to get all heavy-handed about theme.  I may be an English teacher and a kind-of-avid reader and a self-professed almost-amateur writer, but I don’t think the world or any narrative starts and stops with theme.  Not even a rolling stop.  Not even an oh-I-didn’t-know-that-was-a-stop-sign non-stop.  It’s important, sure.  But there’s more to life than theme.

But not that much more, right?  I mean, for any narrative, there’s a theme.  Any story, any poem, any six-second video of a guy texting and walking into traffic and getting obliterated by a bus has a theme.  Theme bleeds out of the story’s every orifice, it leaks out through the eyes and the nostrils and the earholes like a thick Ebola slurry.  It infuses every chapter, every sentence with its rosy, heady fog.  It’s there and unavoidable, like a screaming baby on a 5-hour flight.  You can’t have literature without it.

But how do you create it?

No, I’m really asking.  How do you craft theme?  Or, maybe more importantly, should you even try?

Theme is bouncing around the inside of my skull thanks to a conversation I had a few nights ago with a friend of mine about a story she wants to write.  Interestingly, she and I come from entirely different schools of storybuilding.  Like, she’s been pondering this idea for weeks if not months, has characters and names and costumes and really specific details of the set mapped out, and I… well, when I have an idea, I get about as far as thinking, “maybe it’d be cool if this thing happened and there was a guy with a thing like that” and then I start writing.  She’s analyzing possibilities and eventualities and the implications of interactions between these two characters and the symbolism of this character’s color scheme and I’m wondering if in my story one of the characters can get away with another fart joke.

So I shared with her my particular thoughs on attempting to convey a grand message through the narrative: it feels wrong.  Or, rather, it feels wrong to start there.  I should further clarify that it feels wrong to start there for me.  I feel as if theme, much like the all-female non-reproductive dinosaurs in Jurassic Park, will find a way.  Like weeds in a garden or mildew in a bathroom, it’s always there, lurking just out of sight, waiting for you to neglect it for a scant moment so that it can spring forth fully formed.  Trying, therefore, to cultivate theme makes about as much sense as trying to grow weeds (not weed, STAY WITH ME PEOPLE).  Why put all that effort into something that’s going to happen anyway?  Isn’t it a waste of my time trying to encourage mildew to grow when I could conceivably be building entirely new bathrooms?

But then I take a moment and I wonder what my story is all about.  I mean what it’s about.  You know, the big about, the one that seems super-important after four or five whiskey sours and you’ve just gotten finished talking about how every speck of dust in the universe is connected to every other speck and THAT’S why the government puts those chemicals in the water, man, to keep us from being absorbed by the cosmic ether, even though that’s obviously the next stage in human evolution.  You know, what my story’s ABOUT, man.  And it’s about sticktoitiveness, it’s about determination and the will to overcome, it’s about magical typewriters and Greek gods and mobsters.  It’s about believing in yourself and accomplishing anything, as George McFly once put it.  Isn’t it?

I mean, that message is there, certainly.  It’s a part of the story like bones are part of a person.  It’ll shine through when the editing and the rewriting and the rebuilding are done.  Right?

But what if it doesn’t?  What if, like the tin man, I forgot to build the heart into this thing, and I’m trying to bring it forth into the world to rust and wander aimlessly following the whims of some tart from Kansas?  Rome wasn’t built in a day.  You can’t build a house without a blueprint unless you don’t much care about trifles like structural integrity or roofs that don’t leak or, you know, functional plumbing (there’s a joke in there somewhere about how my story is total unredeemable sharknado, but I won’t be the guy to make it).  I’m counting on the theme to spring forth like flowers after a spring rain, but I’ve salted the earth with my failure to plan ahead.  To nutshell all this, I suddenly feel a bit silly about professing any sort of “expert-ness” about any of this writing business.

At any rate, I dispensed all this “advice” to her.  Put thoughts of theme aside for now; focus on making the story compelling first and let the theme follow after.  Upon further review, I wonder if I sound like that guy at the party wearing the bellbottoms and insisting that they’re coming back into style.  What, after all, do I know about any of this except that I’m having a heck of a lot of fun giving myself headaches and tearing my hair out over whether this story is ever going to actually work.

So, I’m really asking.  Where does theme come from?  Will it bubble to the surface like a bath fart or does it have to be coaxed out of the darkness like a feral kitten?  Do you have to plan for it for a theme to resonate or does it just happen like water spots on your wineglasses?  What, in short, makes theme work?

Occam’s Toddler


Occam’s Razor is a simple scientific precept that I probably misunderstand, but I’m going to hijack it anyway.  It states that for any number of given solutions to a problem or any series of explanations for a phenomenon, the simplest one is probably the best one.  Did I screw that up?  I probably screwed that up.  Anyway, toddlers make this almost impossible to do, and with that in mind, I posit a corollary to the Razor: Occam’s Toddler.  Occam’s Toddler states that for any number of given solutions to a problem or any series of explanations for a phenomenon, the simplest one is probably the best one; however, if there is a toddler in your charge, it’s dangerous to use razors around toddlers, so put that thing away, and now the toddler is spilling cotton balls and lotion all over the bathroom floor and JESUS GET AWAY FROM THE CURLING IRON —

Ahem.  In short, it’s impossible to wield the Razor if you have a toddler.  So if you have a toddler, I have a smidge of advice for you:

Throw away that piece of crap you’re holding on to.  You know the one.  It’s the appliance or tool or bit of furniture that you know is a little bit wobbly, a little bit crappy, a little bit worthless that you’re hanging onto because you can “get by” with it.Read More »

A Long Way Down


I’m happy to share that in addition to the short story I wrote for this week’s Chuck’s Challenge, I also tossed off a one-liner that another author expanded into a full story. It appears below, courtesy of UnderAStarlitSky.

underastarlitsky's avatarUnder a Starlit Sky

This week’s challenge is to continue a story based on a sentence that someone else wrote last week. I wrote a sentence last week, but didn’t want to just post a single sentence on my blog, so I’ll post it now before I post my own story. Hopefully someone will want to write a story around my sentence which is:

It began as mundane as any other Tuesday but watching the clock tick ever closer to midnight Alexis knew, even before the sky turned blinding white with a loud pop, like the sound of a cork pulled from a giant bottle, that the world was going to hell in a hand basket.

And now onto my story, which uses a sentence I’ve taken from Pavowski on Chuck Wendig’s blog, which i’ll highlight in my story in italics.

When I awoke, it seemed like it would be just like any…

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Merlin in Midtown