E. S. O. Martin’s interview with Litseen’s The Write Stuff

E. S. O. Martin on Bringing Lightness to the Lonely Places within Ourselves

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Nate Waggoner’s Dilettantes and Heartless Manipulators

Check out my friend’s book. Dilettantes and Heartless Manipulators by Nate Waggoner, now available through Snow Goose Press on Amazon as a paperback and as an ebook.

 

Jimmy aspires to rap stardom, or at least to make something. Josie wants out of her relationship with Phil. Josie’s parents look back at an escape from a cult and subsequent lives of frustration. Jimmy’s brother Elvis writes fan fiction in his room. It’s a book about growing up, relationships, arrested development and artistic ambition.

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Writing, fast and slow

“If a short story doesn’t pour smooth from the start, then it never will.”—John Updike

Creativity moves at different speeds.

Writing fast:

Sometimes a story will spring forth, fully formed like Athena from the head of Zeus and you’ll feel like it’s all you can do to keep up with the muse whispering in your ear. This is the best feeling in the world. This is divine inspiration.

If you’ve ever listened to Radiolab, this fast creative process has a lot in common with improv. You show up, and it happens, and it’s magic.

Radiolab Presents: TJ & Dave

Writing slow:

But sometimes it’s not so easy. Sometimes you have an idea that you know is going to be great, but when you sit down to write it won’t f***ing come together. You do take after take, you hang out in the periphery, you try to sneak up on it, you try jumping in and no matter what, it’s an unreadable mess.

Sometimes a story can take months, years, even decades to write. You work on the story, you get stuck, you put it aside and work on the story again. What’s going on? Is your muse out on vacation? Is it writer’s block?

Joyce Carol Oates says she knows the solution to writer’s block, and I guess we have to believe she does considering how much she’s written. She says writer’s block is caused by some problem in the mind can’t consciously solve, and that the solution is to put the work aside for a bit until the subconscious solves the problem.—Rust Hills, Writing in General and the Short Story in Particular.

The problem with Joyce Carol Oates’s solution is that you as a writer might think that “putting the work aside for a bit” means not working at all.

No, no.

You see, the thing about being serious about your art is that you have to show up every day, regardless of whether your muse does.

To be prolific, you should have a bunch of stories in your rotation. You work on one, get stuck, put it in a drawer, start working on another one. This way you continue to improve while your subconscious continues to mull over that first story. You have to keep your tools sharp and in good repair so that you’ll be ready for that day your muse descends upon you to offer you a gift.

“Me, Myself, and Muse.” Oliver Sacks, Elizabeth Gilbert

As you heard from that clip, Elizabeth Gilbert talks about how Robert Frost earned his famous poem, “The Road Not Taken,” after working for months on a huge epic poem. “I think the angels reward people who are at their desk at six o’clock in the morning working,” Elizabeth Gilbert says. And then, after months of sweating and working on his epic, he was given “The Road Not Taken”—a short, sweet pearl of a poem that had nothing at all to do with his epic. But it was still a gift, and it was still magic.

I think it’s important to point out here that just because a story comes easily, does not make it better than one that was hard to produce. Plenty of writers (myself included) have kept track of their writing by keeping a notebook of how much they wrote on any given day and taking note of whether writing came easy or hard that day. The crazy thing is, if you read back over your writing, you can’t tell the good days from the bad. It seems like you should be able to, but you can’t.

The truth is that any day you got to your desk, IS A GOOD DAY, regardless of your subjective perception of how it went.

Case in point, let’s look what Stephen King’s memoir On Writing, and what he had to say about his experience writing Carrie.

For me writing has always been best when it’s intimate, as sexy as skin on skin. With Carrie I felt as if I were wearing a rubber wet-suite I couldn’t pull off. […] I had written three other novels before CarrieRage, The Long Walk, and The Running Man were later published. Rage is the most troubling of them. The Long Walk may be the best of them. But none of them taught me the things I learned from carrie White. The most important is that the writer’s original perception of a character or characters may be as erroneous as the reader’s. Running a close second was the realization that stopping a piece of work just because it’s hard,either emotionally or imaginatively, is a bad idea. Sometimes you have to go on whether you don’t feel like it, and sometimes you’re doing good work when it feels like all you’re managing is to shovel shit from a sitting position.

And Carrie rewarded him for his efforts by sky-rocketing him into the stardom as one of the greatest and most popular living American authors.

In summary, you should celebrate the easy days. Thank your lucky stars that your muse has gifted you with it’s blessing.

But on the days your muse doesn’t show up…well, you’ll still be here, hammering away at your keyboard…like you do every day.


 

Sources Cited:

http://www.radiolab.org/story/117294-me-myself-and-muse/

http://www.radiolab.org/story/279566-radiolab-presents-tj-dave/

On Writing: A memoir of the craft, by Stephen King.

Writing in General and the Short Story in Particular, by Rust Hills.

Becoming a Writer, by Dorthea Brande. (I definitely recommend this book if you are interested in hearing about, what she calls, “the dual-personalities of a writer.” Conscious/Subconscious, Muse/Workaday.)

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IT by Stephen King: (how to write social commentary and still be entertaining)

“The task of a writer is not to solve a problem but to state the problem correctly.” — Anton Chekhov

 

It is a novel about an evil phantom clown who haunts a small Maine town called Derry. This evil clown, who calls himself Pennywise, is an entity that shows up every twenty-seven years or so to terrorize Derry’s inhabitants by murdering its children and causing the inhabitants to go violently mad. Pennywise is able to shape-shift into whatever people fear most. If you want to get metaphorical, Pennywise represents a distillation of evil; it is the dark face of small-town America.

The book takes place across two timelines where a group of friends get together to defeat Pennywise during the summer of 1958—when they are all a group of outcast kids in their tweens—and then again, twenty-seven years later, when they are all successful adults. Derry is a town where the worst of humanity reigns.

The book discusses all sorts of hard issues: homophobia, antisemitism, domestic violence, child abuse, racism, bullies, fat kids, and outcasts of all sorts.

How does a genre book dig into such heavy issues? That’s the topic of today’s blog.

I’d like to bring your attention to a meta-discussion that one of the main characters, Bill Denborough, has with his teacher in his college-level creative writing course. At the heart of this particular scene is the question, Is a writer’s primary role to tell a story or to make a political statement? Or, put another way, is it art or is it entertainment (or are those things even mutually exclusive)?

Finally [Bill] stands up in class one day, after the discussion of a sallow young woman’s vignette about a cow’s examination of a discarded engine block in a deserted field (this may or may not be after a nuclear war) has gone on for seventy minutes or so. The sallow girl, who smokes one Winston after another and picks occasionally at the pimples which nestle in the hollows of her temples, insists that the vignette is a socio-political statement in the manner of the early Orwell. Most of the class—and the instructor—agree, but still the discussion drones on.

When Bill stands up, the class looks at him. He is tall, and has a certain presence.

Speaking carefully, not stuttering (he has not stuttered in better than five years), he says: “I don’t understand this at all. I don’t understand any of this. Why does a story have to be socio-anything? Politics…culture…history…aren’t those natural ingredients in any story, if it’s told well? I mean…” He looks around, sees hostile eyes, and realizes dimly that they see this as some sort of attack. Maybe it even is. They are thinking, he realizes, that maybe there is a sexist death merchant in their midst. “I mean…can’t you guys just let a story be a story?”

No one replies. Silence spins out. He stands there looking from one cool set of eyes to the next. The sallow girl chuffs out smoke and snubs her cigarette in an ashtray she has brought along in her backpack.

Finally the instructor says softly, as if to a child having an inexplicable tantrum, “Do you believe William Faulkner was just telling stories? Do you believe Shakespeare was just interested in making a buck? Come now, Bill. Tell us what you think.”

“I think that’s pretty close to the truth,” Bill says after a long moment in which he honestly considers the question, and in their eyes he reads a kind of damnation.

“I suggest,” the instructor says, toying with his pen and smiling at Bill with half-lidded eyes, “that you have a great deal to learn.”

After this, Bill writes a short story titled, “The Dark,” which is based in some measure off of his childhood experiences in Derry. The professor—a literary snob and failed poet—scrawls “F” and “PULP CRAP” across the front page of Bill’s story.

Bill takes the fifteen-page sheaf of manuscript over to the woodstove and opens the door. He is within a bare inch of tossing it in when the absurdity of what he is doing strikes him. He sits down in his rocking chair, looks at a Grateful Dead poster, and starts to laugh. Pulp? Fine! Let it be pulp! The woods were full of it!

“Let them fucking trees fall!” Bill exclaims, and laughs until tears spurt from his eyes and roll down his face.

He retypes the title page, the one with the instructor’s judgment on it, and sends it off to a men’s magazine named White Tie […]

To Bill’s surprise, the magazine buys his story—for “Two-hundred dollars!”—and the editor sends him a heart-felt acceptance letter praising the story.

He goes to his advisor with a drop card for Eh-141 [the creative writing course]. His advisor initials it. Bill Denbrough staples the drop card to the assistant fiction editor’s congratulatory note and tacks both to the bulletin board on the creative-writing instructor’s door. In the corner of the bulletin board he sees an anti-war cartoon. And suddenly, as if moving of his own accord, his fingers pluck his pen from his breast pocket and across the cartoon he writes this: If fiction and politics ever really do become interchangeable, I’m going to kill myself, because I won’t know what else to do. You see, politics always change. Stories never do. He pauses, and then, feeling a bit small (but unable to help himself), he adds: I suggest you have a lot to learn.

His drop card comes back to him in the campus mail three days later. The instructor has initialed it. On the space marked GRADE AT TIME OF DROP, the instructor does not give him an incomplete or the low C to which his run of grades at that time would have entitled him; instead, another F is slashed angrily across the grade line. Below it the instructor has written: Do you think money proves anything about anything, Denbrough?

“Well, actually, yes,” Bill Denbrough says to his empty apartment, and once more begins to laugh crazily.

And it is after that that Bill’s writing career begins to take off.

Thankfully, I never had such a professor like this in any of my MFA program. As an MFA student at SF State, I took classes in Post-Apocolyptic Sci-Fi, Serial Fiction, and Nineteenth Century Mystery. I’m not sure if my experience at SF State holds true for the rest of the literary world, but from where I’m standing, the creative writing world has passed a tipping point where no one believes entertainment and enlightenment are mutually exclusive anymore.

Attitudes, such as those of Bill Denbrogh’s professor, are generally considered elitist, classist, absurdly uninformed, and in poor taste. One has only to look at the current darlings of the literary world—Junot Diaz (magical realism), Michael Chabon (science-fiction, mystery), Kazuo Ishiguro (science fiction), Alice Sebold (fantasy), Aimee Bender (fantasy), George Saunders (science fiction), Robert Olen Butler (fantasy), and many others—to see a fusion of high-minded art and entertainment.

As an old professor of mine once said, “A writer’s job is to delight and illuminate; but remember that nobody is going to stick around for the latter if you don’t do a good job with the former.” That’s right, folks, no one is going to care about what you have to say until you learn to say it well. This is the art of persuasion. This is entertainment.

So how does a writer mix politics into a story without instantly becoming dated and irrelevant? As a novel, It is a good example of how to do this well.

If you’re looking for an exhaustive exercise, I suggest reading the 1,000-page novel and marking all the places Stephen King makes political commentary or discusses American life. If you’re looking for three quick ways to integrate entertainment and meaning in your fiction, read on.

First, politics and history and all that jazz are a natural part of the story’s milieu. Stephen King places his stories in the real(ish) world: the presidents are the same, the bands are the same, the historical events are the same, the geography is the same, and the settings are all familiar and plausible…until things get weird in the typical Stephen King fashion. What is going on in the real world of your story, at the time you’re writing it? What’s in the news? What’s on the radio? How is the economy? Is there a war going on? These things are part of your characters’ world, even if they are only peripherally aware of what’s going on outside their own personal drama. Adding these little clues and detailing your character’s reactions to them can deepen a story to make it about more than just one thing.

Second, theme and political commentary and finding meaning is a natural part of character development. Do your know your characters’ positions on [fill-in-the-blank: the war on terror / drugs / poverty / homosexuality / immigration / the environment / the economy, etc…all those talking points politicians usually cover]. If you don’t know what your character would say about these issues, than you have more research to do.

Third, you, as the writer, must remain neutral as a scientist running an experiment. Remember Chekhov’s words that it isn’t the writer’s job to solve the world’s problems, but to state the problem correctly. Treat your characters with equanimity. Don’t create straw-men out of the characters you don’t like and don’t stack the deck in favor of the characters you do like. It’s a journalism trick of impartiality: fairly present the evidence of both sides and allow your readers to decide.

Which is not to say you should withhold meaning (a common pitfall for journalists). Not at all, you are allowing your characters the chance to explain their own sense of meaning.

For example, in the novel I’m currently working on I have characters on both the far-left and the far-right of the political spectrum; I have characters who are New Agers and also fundamental christians; I have gay characters and also some homophobes. Do I have characters I don’t like? Do I have characters with whom I disagree? Certainly! However, regardless of my personal feelings towards my characters, I am trying to do each character justice by capturing their voices and by presenting reality as they see it. You see, my book isn’t about how left-wing politics is any better than right-wing politics, or visa versa; I am not taking a position because my novel is actually about confirmation bias—which is the process by which people select information in order to reinforce their version of reality. This is my version of “stating the problem correctly”—as Chekhov would say it. I’m trying to present each side fairly and with equanimity, and allow the reader to decide.

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When writing moves you

Yesterday I attended a Hazel Reading in San Francisco. The Hazel Reading Series features eclectic and experimental work by female writers. Each month, the current readers nominate the readers for the following month, so the voices are an ever-evolving, ever-expanding dialogue on a variety of topics.

I was one of the readers in February (I was nominated by Sarah Broderick), and I had nominated Katrin Marie Gibb to be one of the readers this month. (Katrin did a wonderful job, by the way. I have been admiring her writing for years, and it was wonderful hearing her share her voice beyond the confines of an MFA fiction workshop.)

What I wanted to share, though, was what happened when the final reader took the stage. She is a poet named Lisa Gluskin Stonestreet and she read from her book, The Greenhouse, which was about her early-parenthood experience with her son. Now, I am not a person prone to crying. I rarely cry. But Lisa Gluskin Stonestreet’s poems moved me to tears. Her poems were so touching, and personal, and powerful that I literally felt tears welling up and weeping from my face.

It just goes to show you the power that writing has to touch people in a way that nothing else can. It’s a venue to share our inner-most feelings and experiences.

“How hungry we are for people who can explain to us what we feel and why we feel it.”—Megan Dawn

“We need books […] because we are all, in the private kingdom of our hearts, desperate for the company of a wise, true friend. Someone who isn’t embarrassed by our emotions or her own.”—Steve Almond

“Nothing in fiction rings quite as true as truth, slightly arranged.”—John Updike

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