One Place to Get a Plot

It turns out that one place might be a Thesaurus.  My local Dollar Store has a book section, and during my monthly browse in that crowded aisle I found Webster’s Basic Thesaurus.  Kind of mind-boggling that so much erudition and hard work can be had for a dollar, isn’t it?  I snapped it up.

A couple of minutes ago I picked it up from my bed pillow [no, I don’t claim to be an erudite egghead; it’s just that even my light going-to-sleep reading tends to be campy].  I opened it at random.  “Undermine,” I read, “v. …disableexcavatesabotage.”  Aha! I thought, the very stuff of Dead on Dutcher’s Mountain, my novel about a sadistic saboteur and his hapless girlfriend.

I returned to the Thesaurus and found, referring to the same word but to an altogether different set of signifiers, “impairsapvitiate.”  “Yeah”, thought I, ‘undermine’ also refers to what that dirty bastard did to people’s thinking, the way he made them feel crummy and worthless.”

And then I thought, “Hey!  NaNoWriMo is just around the seasonal corner.  What’ll I write this November?  Maybe…”

I found this dilly: spray.  Spray is a noun, as in a sheltering bough, a prom-queen’s corsage, a funeral wreath, which connects like magic in my perfervid imagination to a sequence, thus: Under the illusion of sheltering boughs a corsage-wearing prom-queen meets her brutal end and her cynical killer sends a wreath to her funeral.  Then he meets his own violent end in a spray of bullets which atomize his sorry self.

It’s all in an association of ideas, isn’t it?  Or not, as they often say.

Inspire, Respire–Expire?

“Where do you get your ideas?” Every interviewer wants the answer to that one, and I’ve come up with vague, unsatisfactory answers.
In a video on his current blog, Paulo Coelho equates inspiration with breath; he gets inspiration from, well, inspring, breathing in: from living.
I’m with him–after the initial spark, that is, and I never, never know where that comes from. The combination of facts and factors that make up 400 pages of fiction has been argued by better minds and better writers than I. The actual execution of an idea, for me, is like scratching a mysterious itch until it goes away. The spark for my novel ‘No Reservation’ came from a visual; a woman watches a battle at moonrise on the Navajo reservation; it’s the end of the world. ‘Forcible Entry’, a short story, began with a vision of a spinning trash-can lid and a horrible sense of loss.
Writing may be more a matter of respiration, breathing in and out. There’s inspiration, then respiration; and (ahem!) the writing is what transpires. All right, maybe it expires. One hopes not.

Another Reason to Buy A Kindle!

Danger! Excitement! Intrigue! Romance! Yep, I have another novel in the stores and it’s named Dead on Dutcher’s Mountain and I’m just sayin…

TV-Journalist Hillary Webster is pretty, smart and famous. Miner Karl Voerst is fascinating, charming and–er–kinky. He runs Dutcher’s Mine and can make the U.S. self-sufficient in a strategic metal.

But Hillary has problems: her sister-in-law is missing, along with a fabulous diamond necklace. Her spoiled brother is falling apart. And her niece looks to Hillary for mothering. There’s more: Hillary must cover the inauguration of the new Dutcher’s Mine although her father and dozens of other people died in the old one. Then there is the overworked sheriff: Hillary once loved him but his mere presence now can make her crazy.

Enter the adoring Karl, and a whole lot of skeletons…

  I‘d show you a picture, but I can’t figure out how.   I bet my other blogspot will show it; I’m pretty competent there.  It’s at

http://margaretraymond.blogspot.com

Back to NaNoWriMo.  I’m just over half the way to my goal, and the calendar is just under three-quarters of the way finished.  I’m flummoxed about the plot and so into it I walk into doors; you should see my black eye.  Anyway, and just to whet the universal appetite for my novels, the heroine keeps running into separate time-dimensions, where in one the sheriff is wonderful, in another a rough bastard, and in the third, well, he’s ripping off her panties and it’s raunchy but romantic and to tell the truth, along about here I get a little distracted.

More later.

The Semicolon

I’m sometimes tempted to sneer at the incorrect use of a word (bad/badly, between/among, like that). No, I lie; I often sneer at the incorrect use of anything having to do with our language; I’m not called a curmudgeon for nothing; but on one topic I find it safer to maintain a dignified silence: the proper use of the semicolon; I overuse it; I love it.

I work beside a shelf of reference works for the writer which I largely ignore; however, I often look up the placement of the semicolon; then, for some reason, I mostly ignore what I learned and immediately forgot. Call it a foible, a charming lapse. Please.

Lewis Thomas, the essayist, wrote a witty piece about punctuation; maybe you were assigned to read it in college as I was. I reread it the other day in a fit of snobbish virtue after wallowing in a thriller by Stuart Woods. Lewis Thomas exhibited a subversive humor with which he made the following lovely point about the semicolon; I’d like to share.

“The semicolon tells you that there is still some question about the preceding full sentence; something needs to be added; … with a semicolon there you get a pleasant little feeling of expectancy; there is more to come; read on; it will get clearer.”

That‘s five semicolons in one short paragraph; I cut out another one. “Read on; it will get clearer.” I could summon a reverent gratitude for that statement alone–the eminent man’s excuse to use the little symbol. I believe, perhaps too ardently, in the wisdom of clarification and amplification; especially when I’m not sure what it is, exactly, that I want to say. I clarify a lot, then amplify, give examples, and repeat myself until the painful time that it’s time to (gulp) edit my work. Then it’s time for the stylebook.

Or, if I’m not being paid, not. You understand.

Giants vs. Cubs

Look what can happen in a strange bar! I wrote this little thing at a golf course bar because my TV stopped working during a World Series. Found it the other day. Remember, it’s copyrighted…

Giants vs. Cubs

It is a cloudy day. In the bar at The Nineteenth Hole a tipsy woman watches men drink. She sits at a table; they overflow barstools with their knees splayed, half a dozen balding men bunched in groups of two and three. They play liar dice for the tab. Outside are their vehicles; Cougars, Mustangs, Rams. A stuffed boar snarls above the television set. On-screen, a man strides across an emerald outfield and plucks a ball from the sky. Second out, fifth inning.

One of the men is new to the group at the bar, not yet permitted to pay. A man tells him, “He’ll take care of the ticket for you. Be in pretty soon; he’s teeing off right now on the ninth.”

There is an attentive pause for the game. The pitcher fans the batter back, does it again, and pitches him out. End of inning; the commercials begin.

The new man isn’t comfortable: “You sure? I feel funny asking ’cause we just met.”

“Don’t sweat it,” he’s told.

The subject is closed. The men trade looks and smiles, sip whiskey. The new man turns on his stool, reassured. “He plays that good?” he asks, “Birdies every hole?”

A man nods. “Almost.” Others nod, too.

“He should,” the first man says, “He plays every day.”

Newboy is impressed. “And he won’t mind my asking? Because, I mean, this thing’ll kill me. It’s my third.”

“You’ll scratch his back for him.”

“From time to time,” another says. “We all do.”

More looks are traded. More nods. On-screen, a dark man appears in the murky shadow of a city wall. He pummels a steel-colored punching bag with padded fists while a gravelled voice-over touts watery beer. Everything in the picture is clean. The televised men are warriors; the drinking men are their acolytes. They pretend they are athletes rendered in the hypercolor on the screen. Stevie Wonder’s voice pipes lyrics of love. The stuffed boar is poised to charge.

The woman watching the men considers archetypes and the gap between perception and reality. The men, too soft to play baseball or box or even, on this blustery day, golf, seek numerical accuracy but stretch the truth. “He hit that sucker a good seventy-five yards, and …”

“Seventy-four,” the man is corrected.

“Right; seventy-four yards, and it lit like a feather not three feet from the pin.”

”That‘s right.”

“Amazing.”

“Does it any time he wants.”

“Then this silly suit comes walking right onto the green in his brogans,” the first man continues, “taking things in, smiling. Then says he has a right to walk wherever he wants to.”

“Drunk?”

“Sober. Just stupid. That’s how it started, though.”

The woman thinks, “Maybe it’s in the eye of the beholder. Maybe reality only begins at the edge of your personal space. To cross the line is disingenuous, or rash. Or reality changes with each observation, like a boson. Or a quark.”

She is prolix; it is a habit with her after a second drink. The men watch the commercial. They finger the penile knives in their pockets.

The wall at the end of the bar is glass. A glass door in it opens directly onto the green. There, across the improbable lawns beneath titanic redwoods, a brute with a huge, solid belly stands in a black windbreaker. His legs are hidden behind a knoll, but even from a distance the woman sees hair rise from his back and curl above his neckline.

“That him?” the newbe asks. “I wouldn’t want to be that suit.”

The golfer wears a black cap with a deep bill. The bill shades his eyes and, if you don’t know him, his identity. He prepares to tee off.

“There comes the silly bastard we were talking about,” someone says.

A man in a Burberry appears so far across the course that his militant, arm-swinging progress is obscured by an occasional tree. He marches directly across the greens. He is tiny under the redwoods; insignificant. “Look at that.” The bartender swears and bends to signal the clubhouse.

”Can‘t say he wasn‘t warned.”

“Maybe he didn’t see the signs.”

“He saw ‘em.”

The man enters the swale beyond the brute. His body disappears until only his forehead can be seen, then his face, as he climbs out. The brute swings. The forehead crumples. The corpse disappears into the swale and the brute, stepping wide to accommodate his scrotum, tees and strolls toward the flag. His golf club rests on his shoulder.

“Perhaps it’s a mashie,” the drunk woman thinks, slow to take it in.

The men at the bar turn away from the windows and face her. They rise. She becomes confused. The sixth inning begins as they surround her table.

Giants vs. Cubs

See what can happen in a strange bar?  I wrote this in the bar of a golf course, just found it.  Enjoy, but remember it’s copyrighted…

 

 

It is a cloudy day. In the bar at The Nineteenth Hole a tipsy woman watches men drink. She sits at a table; they overflow barstools with their knees splayed, half a dozen men bunched in groups of two and three. Outside are their vehicles; Cougars, Mustangs. A stuffed boar snarls above the television set. On-screen, a man strides across an emerald outfield and plucks a ball from the sky. Second out, fifth inning.
A man says, “He’ll take care of it for you. Be in pretty soon; he’s teeing off on the ninth.”
There is an attentive pause for the game. The pitcher fans the batter back, does it again, and pitches him out. End of inning; the commercials begin.
Attention returns to the new man. “You sure?” he asks. ”I feel funny, asking a stranger.”
”Don‘t sweat it,” he’s told.
Pause. He says, “He’s that good?” he asks, “Birdies every hole?”
Another man nods. “Almost.” Others nod too.
“He should,” the first man says, “He’s plays every day.”
Newboy is impressed. “He owns this course?”
More nods. On-screen, a dark man appears in the murky shadow of a city wall. He pummels a steel-colored punching bag with padded fists while a gravelled voice-over touts watery beer. Everything in the picture is clean. The televised men are warriors; the drinking men are their acolytes. They dream themselves athletes rendered in the hypercolor on the screen. Stevie Wonder’s voice pipes lyrics of love. The stuffed boar is poised to charge.
The woman watching the men considers the gap between perception and reality. The men, too soft to play baseball or box or even, on this blustery day, golf, seek numerical accuracy but stretch the truth. “He hit that sucker a good seventy-five yards, and …”
“Seventy-four,” the man is corrected.
“Right; seventy-four yards, and it lit like a feather not three feet from the pin.”
”That‘s right.”
“Amazing.”
“Does it any time he wants.”
“Then this silly suit comes walking right onto the green,” the first man continues, “taking things in, smiling. Then says he has a right to walk wherever he wants to.”
“Drunk?”
“Sober. Just stupid. That’s how it started, though.”
The woman thinks, “Maybe it’s in the eye of the beholder. Maybe reality is a line beginning at the edge of your personal space. To cross the line is either infantile or rash. It changes with each observation, like a boson. Or a quark.”
She is prolix; she usually thinks like this after a second drink. The men finger the long knives in their pockets and watch the commercial.
The wall at the end of the bar is glass. A glass door in it opens directly onto the green. There, across the improbable lawns beneath titanic redwoods, a brute with a huge, solid belly stands in a black windbreaker. His lower body is hidden by a knoll, but even from this distance the woman sees hair rise from his back and curl above his neckline.
“That him?” the newbe asks. “I wouldn’t want to be that suit.”
The golfer wears a black cap with a deep bill. The bill shades his eyes and, if you don’t know him, his identity. He prepares to tee off.
“There comes the silly bastard now,” someone says.
A man in a Burberry appears so far across the course that his militant, arm-swinging progress is obscured by an occasional tree. He marches directly across the greens. He is tiny under the redwoods; insignificant. The bartender swears and bends to signal the clubhouse. “Look at that.”
”Can‘t say he wasn‘t warned.”
“Maybe he didn’t see the signs.”
“He saw ‘em.”
The man enters the swale beyond the brute. His body disappears until only his forehead can be seen. Then he rises as he climbs the knoll. The brute swings. The man in the Burberry crumples. His corpse disappears into the swale and the brute, stepping wide to accommodate his his scrotum, tees and strolls toward the flag. His golf club rests on his shoulder.
“Perhaps it’s a mashie,” the drunk woman thinks, and smiles.
The men at the bar turn away from the windows and face her. They rise. She becomes confused. The sixth inning begins.

Poetry Slamming or Slamming Poetry?

I attended a poetry slam this week. Had a nice time, laughed a lot, ingested too much caffeine. Listened to a Dear Soul mumble through a short account of her bicycle ride through downtown traffic, about 250 words. Saw two performances of Free Verse with much gesturing and an occasional shout, 3 minutes apiece. Listened to one sonnet, which rhymed and said nothing.

And one funny, anguished, rhythmic, alliterative poem. Hot damn!

I’m not one of those persons who claims with dewy eyes that poetry is “worthy”, that it is “important” or that I learned or was taught to “love” it. I just like the stuff. I like to read it silently, in English, Spanish or French, for the sensual pleasure of its poetic elements and the subtle discoveries of layered sense. Often I take T.S.Eliot to bed with me, or Ogden Nash (“How old is Spring, Miranda?”).

But let’s get real: a Poetry Slam–which judges a work 95% on performance and 5% on the work that’s performed–does not encourage the poet or poetry. In fact, I can say from a great deal of experience that what a Poetry Slam encourages is loud harangues on material which usually would be better left unsaid. Truly. I mean, I do not care whether your lover left you, whether you had a lousy deal from your boss, or etc. etc. I care about, well, poetry. An idea, deftly expressed so that there are layers of meaning and the more you read the sucker the more you’re likely to find something else that touches your, the reader’s, feeling.

So why do I attend a Poetry Slam? Same reason I keep talking to strangers: someday I may discover something I like.

And I adore coffee houses.

I’m so embarrassed

Sometimes I miss the obvious and embarass myself. Yesterday a panel of poets at a conference declared there is no definition of poetry; you just know it when you see it. It is like the unicorn, rare.

Back home, I decided to watch a Poetic movie. The capitalized P is intentional. I wanted to wallow in Beauty, to be ravished by Color, to be carried away by intense Feeling. I wanted to track the brute Poetry to its lair and make it Mine. I own hundreds of titles and wound up with The Last Unicorn, Peter S. Beagle’s lovely plaint against time and its straight jacket. It’s done up in animation, a technique that messes with your head in the most delicious ways. Here’s a list of the movies I almost watched.

The Bear (wow!)
Coppola’s The Black Stallion (the first 40 minutes)
Babette’s Feast
The Earrings of Madame de…
Fantastic Planet
Illuminata (comes close)
Siegfried
Tango
Smoke Signals
Bagdad Cafe
Something Wicked This Way Comes

You can’t argue with this list; there’s more bare-bones beauty and elegance and eloquence in each of these titles than are dreamed of in Hollywood’s contemporary philosophy. The mystery is, what makes ‘em work? That is, apart from good characters, interesting situations, subtle comments on the Human Condition, an inherent aesthetic, etc.

Well, ta-DAH! I have discovered why they’re poetic and how to captivate an audience. Listen, fellow word-slaves. It’s quirkines. A point of view that is bent. No, not perversion; it’s Individuality. Like the teachers say in Creative Writing 101: a voice.

Duh. I’m so embarrassed.

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