September on Tap

A month of stranger than fiction stories were promised… and, well, promised delivered! I’ve been friends and colleagues with the many writers of this blog for years, and yet I found myself consistently surprised, amused, and horrified by September’s crop of posts.

One of the dominant stereotypes about writers is that we’re all J.D. Salinger types, antisocial nerds who shut themselves up in their dark little basements and slowly grow pale from lack of direct sunlight. Okay, that might be overstating things somewhat. The point is that it couldn’t be further from the truth. In order to write resonant, exciting, and cathartic prose, you have to get out into the world and live. September was certainly a showcase for that.

In case you’ve missed any of our excellent posts this month, take a few minutes to browse what’s on offer.

Stranger than Fiction, by Nancy DiMauro.

Hair Popsicle, by Clancy Metzger.

The Self-Cleaning Dog, by Gregory D. Little.

What’s Up, Doc? by Kim May.

A Hangman’s Tale, by Karen Dudley.

The $80 Mission Bank Heist, by Jace Sanders.

The Thin Line Between Memoir and Realistic Fiction, by Kristin Luna.

The Longest Ten Minutes, by Evan Braun.

My Close Encounter, by Robert J. McCarter.

Based on a True Story, by Kevin Ikenberry.

The Strangest Part of Real Life Is that It Happens Every Day, by Matt Jones.

Life vs. Story, by Frank Morin.

Haunted Hospital, by Paul Genesse.

Texas Heart Shot, by Quincy Allen.

Hell in an Elevator, by Scott Eder.

Perfectly Harmless Lake Flies, by Gama Martinez.

From Plane to Progress, by Colette Black.

When Life Is Larger than Life, by Mary Pletsch.

In the Company of Giants, by Lou J. Berger.

Webbed Toes and Dream-Memories, by Nathan Barra.

Come on back tomorrow, as Leigh Galbreath begins a journey into our more angsty writerly psyches. For October, we’ll be tackling Fear and Loathing in the Writing Life.

Webbed Toes and Dream-Memories

I almost never remember my dreams. I am certain that I dream most nights, but at best, I retain only a vague synopsis or a phantasm of the feelings inspired. Despite this, I have one reoccurring dream that my mind holds onto despite my efforts to forget the morbid stillness of the tableau.

In the dreamspace, there exists only a room. The floor is covered in white tile that extends into an undefinable vagueness around the edges. At the center of the room is a sunken pool, a large square depressed into the ground about a foot. The tub is mostly filled with gently rippling water which reflects the glow of lighting that feels coldly institutional. The grout between the squares of ceramic are a pale brown-red where water had been splashed during a struggle. The water of the pool is pink with what I am certain is my blood.

I never understood why this image inspired dread upon awakening, until I mentioned the dream one day in passing to my mother. She had been washing dishes at the time, and stopped to listen as I talked. I remember the silence that followed my description, and the deep breath she took as she set the item she had been holding back into the sink. Turning to me, she told me that she had hoped I would not remember that place, but because I had, I needed to know.

You see, when I was almost 3 years old my parents had left me with the sitter they and many of the families in our neighborhood had been using for years. The woman ran a childcare service out of her home, and unknown to all the parents was over the capacity she had been legally licensed to care for. This fact came to light when one day I was loose in the kitchen while she was making Jell-O. With the infamous timing found in nightmares and fiction, I managed to get underfoot just as she lifted the steaming bowl from the counter to bring to the fridge to cool.

The burns on my little feet were horrific.

I was rushed to the hospital, where my parents met me. In a twist of luck also rarely found in the real world, one of Canada’s best plastic surgeons was in the receiving area of the ER as I was dragged in and decided to take my case.

Each day, my toes had to be cut free from each other and the wrappings the doctors had to use to keep them separated. Despite medications and the other treatments they used, necrosis had been unavoidable. To keep the infection under control, my dead skin had to be scraped off with a stiff bristled brush nearly daily. My mother, late in her pregnancy with my younger brother, had to hold me down as I screamed and thrashed so a nurse could do the gristly task in a shallow depressed pool in a white tiled room.

It was both brutal and necessary, but because of those chances and the choices of all involved, my feet eventually healed and grew normal and whole. Even so, my mother says that was the hardest thing she has ever done. She took a leave of absence from work to stay with me in the hospital and only left my side at night when my father took the vigil with me. After catching what sleep she could in the Ronald McDonald House next door, she would return to let my dad shower and go to work. That experience and kindness is why the Ronald McDonald House is one of my favorite charities.

I’ve often read stories where writers use dreams to have characters cope with traumatic events that occured in the buried past, but never believed that it happened in real life. After all, if the person wasn’t old enough to remember, how could the trauma reappear in dreams? How could it be so specific and real? I would have sworn that it wasn’t possible. Apparently, I was wrong.

In the Company of Giants

A guest post by Lou J. Berger.

As other writers have mentioned to me, sometimes life manifests situations so improbable that, if you were to write them into a story, no reader would accept them as plausible.

And yet…

I walked through the dealer room at Reno’s WorldCon, showing my girlfriend Kelly around, marveling at the artist displays, looking around to see if I could spot Bob Eggleton, a tremendous artist that I’ve only met via Facebook, never in real life.

My eye lights upon a grinning, elfin woman with graying hair and the eyes Yoda only wished he had had, as expressive as a sunset. She spies me and calls out my name and wraps me in a hug that conveys love and adoration and respect, then calls over her husband, Joe Haldeman.

Gay Haldeman is an angel among people, and she has an encyclopedic memory, knows everybody, loves everybody, and is one of the nicest folks I know. Without my being able to figure out how, she manages to convince me that she considers me one of the most important people she’s ever met. I know, in my soul, that I am just another cog in the gears that permeate her life—and a small, insignificant cog at that—but she has that magic touch, that personality that the best of the best seem to have.

Joe smiles at me and shakes my hand, I introduce them both to Kelly, and Gay says, a hand upon my forearm, “You will join us for lunch, won’t you?”

I glance at Kelly, she nods, and I say, “Of course!”

A rare cloud crosses Gay’s unlined brow. “Oh. Do you mind if I invite another person to join us?”

Well, I had been hoping for some one-on-one time with Joe and Gay, but any friend of hers…

“Sure,” I reply. “The more the merrier!”

Gay’s cloud dissipates and sunlight radiates from her again. “Great! I’m sure Larry will love to meet you.”

Larry. That’s such a familiar name, especially the way she says it. I open my mouth to clarify, because, after all, there is no way it could be… “Oh, here he is!” Gay cries out, grinning, looking past my shoulder.

I turn and, in true Ewok form, there strides one of the greatest giants of SF-dom, Larry Niven. It is him. Of course it is him.

He’d passed me in the hallway at Denvention, a couple years earlier, and I’d said, upon seeing him, “Shoot! I was hoping to attend your panel!” Without breaking stride, he shot back. “Well, you missed it.” And then he walked on.

So we walk, the Haldemans and I and Kelly, with Larry Niven beside me. I’m trying to be cool, but this is the man from whose brain all those books I read in high school sprung. He’s the Ringworld Engineer Deluxe, the guy who invented the Mote, this is Larry freaking Niven!

“You’re a writer,” says Larry to me. (See? I’m calling him Larry. Like we grew up together. Like we’re old pals. Like I have any damn right to be walking beside him, this ordinary-looking man whose prose has put me on the badly-colored carpet of a Reno convention center, walking toward an unimpressive cafe in an adjacent casino.) “Tell me a story,” he finishes.

I take two careful, measured steps. I think of the works I’ve written to date, the stories I’ve excised from my fertile imagination, the tortured words I’ve yanked out of my brain and through my fingers and onto the page, the single story I’d sold. Worthless. In the company of a god, my best work is fool’s gold, iron pyrite glittering with false richness, not worthy of discussion.

“I’m sorry, Larry,” I stammer, after a while. “I’m a little star-struck. My brain isn’t working quite right.”

“It’s okay,” he says, patting my shoulder. “Happens all the time. Give it a moment.”

I walk alongside Larry, watching the carpet flow beneath our feet, and we walk into the casino, my hand clutching Kelly’s. We sit down for lunch and I listen to Larry and Joe talk about old times, laughing and reminiscing, and I slowly relax, beginning to process that what’s happening around me, this august company I’m part of, is because of Gay, not because of anything I’ve ever done.

She’s the catalyst, the one who keeps her eyes peeled for the spark, that ineffable quality in a writer, just starting out, that signifies some semblance of promise. And like any spark, the spark she sees is tenuous, hesitant, and should, as most sparks do, simply wink out. She captures it, fans it, finds a home for it, and nurtures it into a small flame.

Then she brings that flame into the firelight and welcomes it home.

I’m not sitting with Joe Haldeman and Larry Niven because I’m some sort of brilliant writer. I’m sitting with them because Gay believes in me.

I lean across Kelly and catch Gay’s attention while Larry reminds Joe of something arcane and brilliant. “Gay,” I whisper. “Thank you.”

She peers at me through her glasses and a warm smile crosses her face. “Thank you for joining us, Lou.” She turns to Kelly. “And you too, Kelly.” She gazes at us for a minute and then turns her face back to Joe.

Her eyes go soft as she looks at the man she loves.

I squeeze Kelly’s hand and we eat our lunch in the company of giants.

loubergerpicGuest Writer Bio:
Lou J. Berger lives in Denver with three kids, three Sheltie dogs, and a kink-tailed cat with nefarious intent. He’s an active member of the Science Fiction and Fantasy Writers of America, has been professionally published in short form, and is writing his first novel, a non-genre YA book set in 1978’s North Carolina. Take a few moments to visit his website.

When Life is Larger than Life

A writer friend of mine has cautioned me about borrowing storylines too faithfully from real life.  Her words of caution read as follows:  “Fiction has to make sense; reality doesn’t.”

If a story doesn’t hold together–if information is missing so that readers don’t understand why or how important events happened, if characters undergo situations without learning or growing or changing in any meaningful way, if the conclusion doesn’t leave readers with a sense of satisfaction–it’s considered a failure on behalf of the writer.  But these sort of things happen in real life all the time.

Readers who pick up a murder mystery story can rest assured that by the end of the book, they’re going to know whodunnit (and usually how and why).  Real life, on the other hand, is filled with examples of murders that were never solved, missing persons that were never found, and criminals who were never brought to justice.  These situations, while realistic (indeed, real), don’t make for satisfying murder mystery stories.

That’s not to say it’s impossible to write a successful story in which a mystery remains unsolved – I think of Minority Report, where the hero’s missing (and never found) child provides motivation for his decisions – but the plot of Minority Report is not centered on the missing son.

Another important factor to consider in fiction is suspension of disbelief.  If a character or plot point is too outrageous or implausible, it can shock readers out of the story.  It can make a serious story unintentionally humorous, ruining the tone and the mood, or it can leave the reader feeling frustrated and disappointed if they thought they were beginning one kind of story and ended up with another.  (No spoilers here, but I recently read a book which began as a realistic-seeming crime story and, in a daring move halfway through, a supernatural element was revealed.  I thought it was great, but afterwards I found mixed reviews, depending on the willingness of the readers to shelve their disbelief, accept the unexpected supernatural premise, and continue reading.)

So what do you do when your real-life example is so much larger than life that it stretches plausibility–even though it really happened?

Audie Murphy – the most decorated American soldier of the Second World War – later became an actor and played himself in a movie based on his autobiography, To Hell and Back.  Murphy himself was not the typical action-hero–he was shorter and skinnier than the archetypal figure–and though he filmed the movie as an adult, he fought when he was still a teenager.  Many of us are used to movies “based on a true story” containing gross exaggerations for dramatic effect.  In this cas,e though, comparison between historical accounts and the movie suggests that the film understated Murphy’s heroic deeds.  In a world where the usual formula is to overstate the fictional version to make a more dramatic story, To Hell and Back is an example of where real life has been toned down to make the story seem plausible to an audience unfamiliar with the actual history.

My writer friend, who is English, has been following with great amusement the saga of Rob Ford (the mayor of Toronto) over the past year.  From conflict of interest trials to admitted public intoxication and crack cocaine use, from lewd comments to investigation by police, and with videos of the mayor drunk, swearing and threatening people posted on Youtube, Mayor Ford is like a reality TV show playing out on the nightly news.  He’s real.  He’s all too real.  And he still intends to run for office again.

But my writer friend says, “You couldn’t make him up.”

You couldn’t make him up, because who would believe in him?  Who would believe that the mayor of a provincial capital would conduct himself in this fashion?  Try swapping Rob Ford for the leader in a military thriller or political drama.  How many readers would be able to suspend their disbelief?

Maybe you could get away with him in a screwball comedy or cheesy cartoon–the genres where viewers aren’t supposed to take anything seriously.

“But he’s real,” you say.  “It really happened.”

Now that it’s happened, while he’s still public knowledge, a writer could get away with a serious story involving a crackhead mayor.  Before the scandal broke–or in ten or twenty years when Ford is forgotten–not a chance.

Fiction is a craft.  By all means, borrow ideas or plot points or character concepts from real life, but be ready to revise them to suit the needs of the story.  In the end, the goal of fiction isn’t to provide an accurate historical account, but to tell a coherent and engaging story.  Sometimes that means simplifying events, adding explanations, and ramping up drama.  And sometimes…just sometimes…that means toning characters down, when real life is just too much “larger than life.”