Some Stories You Should Read


 

This post is a shameless plug for some fiction written by myself and other authors.

Chuck Wendig, over the past three weeks, organized a 3-part Collaboration Challenge over at his website.  I played each week, writing the first 500 words of my own story (There Are Things in the Well), writing a second 500 words for another story (Clank), and finally writing the conclusion of a third story (A Recipe for Disaster).

I’m happy to say that both of the stories I collaborated on aside from “A Recipe for Disaster” were picked up and concluded by other authors.  Yesterday I reposted the finished version of “There Are Things in the Well“, and today I saw that there have actually been two part 3’s written for “Clank.”  In no particular order, you can find them here (Clank 1) and here (Clank 2).

It’s been a fascinating exercise, first of all, to pick up and continue the work started by another author, and second, to see what strange new directions other authors take with material I’ve started.  In short, a really cool little idea.

Thanks to Angela Cavanaugh, George Kaltsios, Underastarlitsky, RoseRed, Matthew Gomez, and Clay Ashby for their unwitting collaborations.

Simmering my Brainmeats in a Fragrant Crockpot of Creative Doubt


My Flash Fiction from last week is enjoying a bit of success over at terribleminds.com.  So good, in fact, that I stand to win a free e-book off the back of it (yay free stuff!).  That thread is here:  Three Sentence Stories.  And it got me to thinking, which is a bad habit I have.  Because I love these little Flash Fiction challenges; I take great pleasure jumping into them with both feet no matter how difficult or ridiculous or outside of my comfort zone they may be.

If you’re going along with this post, you might want to check out my series of stories from last week, because I’m stewing over them right now.  Simmering my brainmeats in a fragrant crockpot of creative doubt.

Writing the last one — I should say the last set, since I expanded on the topic and wrote way more than I perhaps should have — was instructive, because the development of the stories was so strange to me.  With only three sentences to tell a story, I agonized for the weekend over what story I could tell, what characters I could bring to bear, what possible development and twists I could effect within such a short period.  My first story was good but fell into my typical vein of the dark and somewhat horrific account of a more or less mild-mannered somebody taking part in senseless violence.  It’s a little bit of a motif with me, I’m afraid, and I’m just not sure how effective it really is.  It wasn’t bad, but the moment I wrote it, I realized just how much of a step into an old shoe it was, which is why I decided to write another one.

So I rebooted, kept my central idea and parameters, and brought in new characters, new conflicts.  New perspective, new story, new twist.  And v2 was better, I think, though it still fell in the same dark, depraved vein of the first.  But twisting the idea in my brain felt refreshing, so I tried again.  If the first story was a cruise down a familiar highway, the second was a short detour on a quaint exit ramp for a franchise burger.  A bit different but nothing incredible.

So for the third go-round, I decided to take a hard left into the ditch.  Rather than characters, I characterized inanimate objects (more or less), let them talk and explore human emotions and ideas, and … end up at the same dark murderous place.  Hmm.  The new take on characters was like a fantastic little food truck discovered set up around the corner from my office.  Totally new and exciting food in a familiar and comforting setting.  I knew I was getting warmer.

On the fourth go-round, I struck gold.  I re-imagined the central idea once again, personified an inanimate object and used my scenario to describe a situation that happens every day.  Not an earth-shattering revelation about everyday, just a little thought experiment on what might be happening when the vending machine at the end of the hall rejects your dollar.  Somehow, it felt like gold.  An ostensibly ridiculous premise with an endearing (at least, I think so!) character whom you don’t expect, giving an unexpected perspective and staying light and upbeat.  So it was a bit out of my comfort zone, a bit funny, a bit ridiculous, and very much me.  As I was writing it, before it was finished (yeah, that quickly, even before I could finish three sentences), I could tell it was the best one.  That “magic” was happening, that crazy feeling where you feel like you’ve tapped into the magical mind-juice of the universe and your pen (okay, your keyboard) is acting as a conduit for the timeless universal stories that speak to everybody.  You know, a good writing session.

The fifth attempt felt a little forced, so I pulled the plug after that one.

So, to reflect, I wrote one story in my usual vein, a second with one foot out of the vein, a third with an eye on a different horizon, and a fourth that struck out toward that horizon and — by all accounts — seems to be resonating with folks who read it.  So now, I’ve got another prompt in front of me for the weekend, and I’m all in my own head, wondering if I need to write three junk stories before I get at the “real” one.  For that matter, I’m working on an extended short story and boy oh boy, does it feel awkward and forced.  Like I’m in touch with the central idea, and I’m enjoying the premise, but I can tell as I’m writing it that I’m not telling the story the right way.

Do I need a few crap attempts at the topic to “clear the pipes” so that I can get down to writing the story that I want to write?  If so, how far do I have to carry those stories out?  When I wrote Rejected v1, it felt like a pretty good story to me, but in retrospect I can see that it’s awfully derivative.  The current version of Powdered Chaos, at about 30% completion, already feels crap.  Do I need to carry it to is conclusion before I take another stab at it?  Or, having written about 4000 words on it already, can I legitimately realize it’s crap and start over without crashing my creative process?

In short, just what the hell is my creative process anyway?  This is seriously bugging me, and it’s bogging down my writing hard while I’m trying to carry my momentum through this lull before I jump into editing Accidentally Inspired.

Need to figure this out.  Anybody else have anxiety like this about your drafts?  How do you attack it?  Do I just write the crap to clear the pipes or do I resist the urge to waste time on the crap and hold out for the good ideas to strike?

… But He Was Still Hungry


My kid is super-hot on Eric Carle’s timeless and much-adored The Very Hungry Caterpillar.  He loves the book so much that I can recite it word for word from memory without so much as a hiccup, and he can fill in the blanks when I leave words out.  (“On Monday, he ate through one…” “APPLE!”)  Fantastic bonding experience, reading with the sprout, even if it exhausts me reading the same book night after night after night (it does, but you know, welcome to parenthood).

We’re reading the book tonight before bedtime and I have one of those HOLY SHARKNADO moments.  If you’re not familiar with the book, basically there’s a caterpillar, he’s hungry, he eats through all this food at a picnic and every night he’s still hungry.  Sort of existential in a way, actually (damn, there’s ANOTHER of those moments, okay focus).  But I’m reading through the story for the sixtieth time and it’s right about the time where he eats through four strawberries (but he was still hungry) when I realize that I AM THE CATERPILLAR.

I mean, I guess we’re all the caterpillar, aren’t we?  Chewing our way through the swollen fruits of life, gorging ourselves on the sweet meats of the vine, but at the end of the day, it’s not enough: we’re all still hungry.  But it hit me today, like an unregistered immigrant flying through a red light when I’ve got a green (not that THAT ever happened to me), that the caterpillar is ME as a writer.  I popped from my egg one day and started looking for food (writing).  I chewed through apples, pears, plums (my novel, short stories, the blarg), eating so much at times that I made myself sick on it (yep I’ve definitely been sick of writing a few times on this little excursion).  I’ve not yet turned into a beautiful butterfly: more likely I’m one of those guys that turns into a dusty, nasty moth that spirals into your porch light and fries himself before he can get a taste of the night.  But man, if this realization didn’t resonate with me.  I guess great literature does that, dunnit?  No matter what age group it’s aimed at (you YA haters can suck it, Twilight is TIMELESS [no it isn’t, please kill me]) if the writing is sound it will appeal to virtually anybody in some way.

So I’m the caterpillar.  I achieved the goal I set for myself four months ago: achieved it in less time than I budgeted for.  And achieving it has tasted sweet, sweeter than I imagined it would, though not without its bitter aftertaste.  But it’s now a week and a half later and my stomach is rumbling something fierce.  The novel was fantastic.  Delicious.  Satisfying.  But I’m still hungry.

I’ve got to find my next project.

Sure, I’m still writing daily — the blarg is keeping me honest on that front, and that’s not going to change — but the blarg is a completely different animal than churning out 900 words a day on ONE singular topic, one idea, one band of characters.  The blarg requires the attention span of a coked-up yap dog: one moment I’m peeing on the carpet, next moment I’m chasing the neighbor’s cat through the azalea bushes, next I’m snoozing on the pair of shoes you left in the corner, and then I’m running under your feet trying to trip you down the stairs.  There’s no focus, no throughline, no gravity.  Last couple of days especially, the fact that I’m not writing anything of substance is irking me, burning in the back of my brain like I’ve left the stove on before leaving on a five-day cruise.

I guess that means that the break is over.  I’d promised myself a bit of time off to decompress after finishing the first draft of the Project, figuring that if I tried any serious writing too soon I’d feel burnt-out and frustrated and stretched too thin.  At the moment I’m torn between telling myself that I need a bit more time to really spin down — a lot has happened in these last few weeks — and embracing that sucking wound in my gut that’s gasping for more words, more ideas, telling me I need to write write WRITE.  The urge to write is winning out at this point, I fear.  The question is, what will it be?

Do I jump into the draft of another novel?  I’ve got a few ideas on the burner for that and I’ve felt a couple of nibbles along the way writing the first one.  Do I try my hand at writing an extended short story, a little novella perhaps of maybe ten thousand words?  Go back to the stable where I first started this crazy gig and try my hand at another stage play or screenplay?

New resolution: By no later than Monday of next week I’ll choose a new project to work on, and set an acceptable deadline for its completion.  I’ve got two weeks left in the summer and then it’s back to the teaching grind, and I’ll want something to anchor me creatively.

Just a Sec, Ty


Chuck’s Flash Fiction Challenge of the week:  Bad Parents.

I struggled with this one because my parents are actually pretty good ones by virtually every yardstick I have by which to measure them.  And, you write what you know, right?  So I was stuck.  I thought about writing to the news of the week, with the guy who essentially cooked his kid alive in a car, but the thought of getting inside a mind like that turned my stomach.  Then I remembered this story which was told to me by a sweet old lady at the mall while we were chatting about my boy about a week ago.

So I decided to steal it and spruce it up.

 

Just a Sec, Ty

 

The dull hum of the food court is the roar of Fenway Park.  Tyler checks the runner, catches a signal, tips his brim with sweaty fingers and draws back.  His arm coils backward and slingshots forward, a striking serpent launching itself toward home plate.  The ball hurtles through space, its seams blurring in a wicked curling dive.

But Tyler is ready.

His hawk eyes track the ball’s impossible movement, down and away.  Like an unraveling slinky he plants, turns, swings, and connects.  The ball goes screaming away into the stratosphere, a meteor streaking through the sky, shattering the sound barrier as it sails into the night.

Tyler starts to run.

His locomotive legs pound the turf as he races for the wall, its ivy expanse stretching off on both sides.  Home run shot, no doubt about it, but only just.  The wind whistles in his ears as he sprints, looks over his shoulder, and leaps.  His legs like giant springs, he bounds into the air; an impossible leap, but he’s done it.  The momentum of his catch sends him tumbling head over heels, til he stops, flat on his back, cradling the tiny ball in his glove.  He hides it for a long moment, savoring the moment for himself.  Then he leaps to his feet, thrusting the bit of horsehide into the air.  His world erupts in a blinding spray of camera flashes.

The elderly man at table twenty-three claps and whistle at him over a plate of soggy lo mein.  “Nice play, champ,” the gentleman says, his wrinkled features pulling into a warm grin.  Tyler throws a glance over his shoulder.  She hasn’t noticed.  He trots over.

“Keep practicing,” the man says, “and you’ll be making those catches on TV one day.”

Tyler’s six-year-old eyes shine, and he pulls his two-sizes-too-big pants up at his waist.  “You think so?”

“Sure do.”

She still isn’t looking.  She missed the pitch, missed the home run swing, missed the miraculous catch.  Tyler tugs his cap straight and meanders off through the food court.  He walks past kids his age, older kids, toddlers and babies in strollers.  This one’s parents are holding both his hands and swinging him through the air, this one’s mom is licking a napkin and dabbing at her face, that one is screaming holy hell while dad pats him on the back, mumbling soothing nonsense at him.

Tyler’s feet carry him into Sears, past the shelves of shining silver appliances and the rows upon rows of brilliant television screens, until he sees it: his chariot of fire, a fully-loaded formula one racer with brand new tires and green paint, luminescent in the sun.  He jumps in, buckles his belt and helmet on, feels the engine snarl all the way down to his butt cheeks.  The checkered flag goes up and his world narrows to the road in front of him and the cars on either side, blistering past him like angry bees, roaring in his head like a rampant Tyrannosaur.

“Little boy.”

He blinks.  What’s this old lady doing on the race course?  But the cars are dissolving, his helmet is gone, and now he’s just Tyler, sitting on a shiny new John Deere lawnmower, with this janitor looking at him.  It’s concern on her face, and he doesn’t quite know what that means. All he can do is stare.

“Pretty nice driving, there.”

She’s wearing a red polo shirt, she works in the mall.  He hops off, doesn’t want to get in trouble.

“Where’s your parents?”

Tyler shrugs.  Don’t talk to strangers. 

“I followed you from the food court.  Where’s your mom?”

Another shrug, a shuffle of his feet.

“Can I help you look for her?”

Tyler looks in her eyes for the first time.  Kind eyes, like the old guy watching him hit home runs.  Like his grandmother’s, in a dim memory from when he used to visit her.  Half a lifetime ago.  She’s not dead, mom just doesn’t take him to visit anymore.  He nods and thrusts his hand out for her to hold, which she does.  Her hand is dry and warm and big, and her fingers close around his and he feels safe.

She’s still on the playground, amidst the raucous toddlers and kindergartners and first graders, seated on a bench at the back, next to a plastic padded mushroom.  She doesn’t look up.  Her fingers fly across the face of the little black device in her hands, her face free of any emotion.

“Mom!”  Tyler runs to her, hugs her knee.

“Just a sec, Ty.”  Click click click click.

The janitor clears her throat.  “Excuse me, miss?”

Click click.  “Hmm?”

“Just thought you ought to know I brought your boy back from Sears.”

Mom looks up.  “What?”  She glares at Tyler.  “Is that true?”

Tyler’s face flushed and he stares at his shoes.  The woman in the red shirt kneels next to him and puts a hand on his shoulder.  “He was all right.  Driving him a race car.  But I thought he ought to be getting back to you.”  She gives Mom a stern look.

Mom snatches Tyler’s hand and pulls him away.  “I don’t need you to touch my son.”

Mom yanks him out of the playground, and tears spring into his eyes.  Tyler throws a glance backward at the janitor and thinks he sees tears sparkling in her eyes, too.  But then his mom’s hand isn’t a hand at all.  It’s a thick, ropey vine, and the jungle is singing around him as he swings through the trees, dodging the legs of passersby like so many tree trunks in the wilderness flashing by.

A momentary distraction as Mom’s voice breaks through the vision: “wouldn’t believe what just happened to me, the nerve of this woman…” and Tyler’s heart lifts, because he knows now she’ll be talking about him all day.

The Potioneer’s Ploy


Chuck’s challenge this week:  Pick Five Characters.
I used random choice to get me down to eight and went with the five that I felt best fit together.  Here’s what I came up with.
The Dexterous, funny hermit

The Agile heir
The Unpredictable hunter, worst in his profession
The Unhealthy jailer
The Unheroic impostor
I wasn’t able to get an entirely self-contained story here, but I think it worked out well enough.  As a result, while I feel the arc of this particular moment is completed, it certainly leaves more to tell.
But, for a change, it’s NOT dark and weird!  Here, then, are 1494 words of fun in a sort-of LOTR, sort-of GoT world:

The Potioneer’s Ploy

As usual, Danver had no idea what on earth he was doing.

He poked his pointy nose around each corner of the cell, examining every last crumb of moldy bread and every crack in the wall for some sign, any sign, that might give an indication of where the princess had escaped to.  None was forthcoming.  Only one thing to do: stall.

“I’ll need to see the grounds outside her window,” Danver said, with as much authority as he could muster.

Read More »