Wm. Faulkner home movie – 1949

The Millions does it again, finds and presents something of great interest and value to fiction writers.  In this case it’s a 15-minute gem of William Faulkner (offered in five  3-minute segments, as the technology of the time was so limited) just after he’d won the Nobel Prize for Literature in 1949.  These short films show Faulkner in his home town of Oxford, Mississippi, interacting with friends and neighbors and giving a graduation speech to the high school.  It’s scripted to show Faulkner at his interpersonal and philosophic best, which is pretty damned good.  Each brief segment provides memorable stuff.  Enjoy.

Faulkner film-1949

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Only in Santa Barbara

I could swear I saw one of these Venezuelan Poodle Moths in Santa Barbara the other day window shopping on State Street.  I wonder who does her eyebrows.

http://twistedsifter.com/2012/09/picture-of-the-day-the-venezuelan-poodle-moth/

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Photograph by Arthur Anker on Flickr

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“The Company You Keep.” See it!

Robert Redford’s The Company You Keep, is an outstanding movie.  It deals with the Weather Underground members in late life.  No, not talking about those who report and attempt to predict weather patterns, as important as that might be.  I’m referring to the radical anti-government movement of the late 1960s and early 1970s, which broke away from the principle of peaceful protest against the Viet Nam War and U.S. incursions into Central America to support “American interests,” meaning our corporations.  The movie portrays these former and/or still active radicals as remaining faithful to each other and their cause, fighting an oppressive and murderous government, which has only gotten worse in the decades since.  It’s about survival in a toxic environment.

The movie isn’t a mystery, so the following comments shouldn’t be considered a spoiler, although stop reading here if you are concerned about such things.   It portrays the government’s continued and even ramped-up pursuit of these “radicals” 30 years after the fact, as well as the obsession of journalists (a few these days) to get at “the truth,” no matter the cost.  Ironic twist here, given Redford’s roll as dogged Washington Post reporter Bob Woodward digging into Nixon’s Watergate scandal in All The President’s Men (1976).

There is little speechifying in The Company You Keep, but where it occurs, it’s illuminating, especially if you have forgotten or never knew the motives of radical groups like The Weathermen of that tumultuous era. One character says, “We changed nothing.”  Another believes, “We changed everything.”

The Company You Keep has been a box office bomb.  My beloved and I were the entire audience on a Monday evening, which we feel is a shame worthy of tears, because the intertwining stories played out are not only crucial to remember or learn, but because our government has become so much more remote and oppressive and our reporting of it so rare and stifled.

See it.  Great story and terrific actors:  Redford, Julie Christie, Susan Sarandon, Nick Nolte, Chris Cooper, Shia LeBeouf, Stanley Tucci.

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Beware of wariness

My first thought upon reading this afternoon’s news alert from the NY Times that security cameras may have captured the Boston Marathon bomber’s image was, “Good, we’ll get the bastard(s).”

My next thought was more chilling and one that will be lasting: the coming ubiquity of security cameras.   As things have gone government-wise for the past more than half a century, we should expect a big push to install government (or “privatized”) security cameras covering every inch of every street 24/7, at least in major cities.  They already have this in England, and I wouldn’t be surprised if police don’t start also wanting it in smaller-town America.

This calls to mind Ben Franklin’s adage (paraphrased here)  that those who are willing to give up liberty in favor of security deserve neither.  Yet that has been the modus operandi of America’s security industry (which drinks from our government’s tap) since World War II.  So, I offer a corollary to Mr. Franklin’s great piece of wisdom:  Beware of relentless wariness, lest we imprison ourselves and lose our America.

And who was it that said, “the only thing we have to fear is fear itself”?  Oh, yeah, our own four-time president, Franklin D. Roosevelt (and probably Sir Francis Bacon 400 years earlier).

 

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The Unworkshop–Hey, let’s have a little honesty here!

The first piece of advice I have today for writers is, Don’t believe everything you read, especially if it comes to you over the internet from something called “The Awl” via a writers’ website called THE MILLIONS.  Yet, there is an awkward chuckle or two and the ache of familiarity in the following excerpt from an article by Jim Behrle (March 29, 2013).  It’s called “The Unworkshop,” and it’s for writers, “fellow” writers (those we barely tolerate), editors, and assorted other masochists.

THE UNWORKSHOP
The greatest mistake the American writer ever made was asking everybody else what they thought of their writing. Look around your current writing workshop. Look right and left. Most of those people will stop writing. Because it’s too hard, they have no ideas, no one understands them, whatever. A few of those failed people will become editors. These are the only people in the room who should ever really matter to you. Writers need editors like tapeworms need moist intestines to live inside. Editors have real jobs and give writers gigs. What does knowing another writer ever get you? You have to read their fucking writing all the time, that’s all. The Unworkshop would function much the same as the Workshop. A student would rise, read a poem or short story and then sit. Classmates would hem and haw. “I love the bovine imagery but I just didn’t like the character of the butcher. Maybe it should be a mail carrier instead.” Modest praise would beget wild advice, as often is the case. No one ever tells you what they really think in workshops. They tell you what they think the professor wants them to say. Professors who are like totally taking that butcher and putting them in their novel-in-progress. But in the Unworkshop the writer would listen to each piece of advice and respond, “How much would you pay me to change that butcher into a mail carrier?” The advice-giver would respond with a number amount. The writer would make the changes based solely on the dollars. Writers are asked to do so much for free. The purpose of the Unworkshop would be to help build some of the muscles writers will most need to use in real life. The muscle that helps you ignore people with bad advice and the muscle that helps you to instinctively ask for money. If those muscles are working you are well on your way to writing for a living.

As to The Millions site, I happen to love it.  They send two or three articles/commentaries a day, which from any other site I know of would powder my molars.  But the stuff from them is about equally divided among (A) Of Zero Interest to Me, (B)  Of Some Interest but Marginal Value, and (C) Brain Revving, Whether or Not I Agree.  There’s enough value from The Millions that I actually look forward to finding the gems among the rocks.  I’m glad their staff is out there digging so much stuff up.

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1st Draft v. Revisions

It helps to remember this formula:

First drafts are for the writer; revisions are for the reader.

Wisdom from Anne R Allen’s blog (Feb. 24,2013)
http://annerallen.blogspot.com/

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Your past blocks your path

Don’t look behind for your past; it’s ahead of you blocking your path.

Patrick Ball (patrickball.com)

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“Unrelateable” Heroes: new coinage, old problem

Are we in a new era of word coinage?  Bill Morris, who publishes on-line at The Millions, thinks so.  He offers “fracking,” “illliquid,” and “repurpose” among other coinages.  In the following excerpt, “relateable” is a new coinage in the context of a story’s main character.  It’s particularly relevant to writers concerned with how readers might respond to an “unsympathetic” (i.e., bad-ass) protagonist.

                                    EXCERPT FROM:

“THE DEBASED ART OF COINING WORDS: A GLOSSARY”

by Bill Morris

“Relateable – A character in a novel or movie who has qualities that readers or viewers can easily recognize, identify with, and embrace. It’s a barometer of our culture’s watery values when the highest praise for a fictional character is that he or she is familiar, unthreatening, and easy to like. It reduces novels and movies to the level of a high school popularity contest, and it goes a long way toward explaining why so few Americans travel to remote, exotic, difficult locales. What ever happened to the glories of the unfamiliar, the discomfiting, and the odious? I’m thinking specifically about John Self, the scabrous, lecherous, loathsome – and hilarious – protagonist of Martin Amis’s best novel, Money [a Suicide Note]. He’s loveable precisely because he’s so…I hate to say it…he’s so gloriously unrelateable.”

        The full article is interesting and funny, not too long, and worth a tumble.

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BookTalk Nation — Check it out

I have “discovered,” after about a year of hearing about it, an interesting, engaging, and useful blogsite called BookTalk Nation.  On it you can hear  half-hour interviews with authors of fiction and non-fiction books.  You access the interview by computer at booktalknation.com or by phone (212/563-5904).  This is a fairly new enterprise sponsored jointly by The Authors Guild and the independent bookstores who join.  Hearing/seeing the interview is free, while profits from book sales resulting from each interview are shared, half by the “home” indie bookstore conducting the interview and half divided among the bookstores that have joined BookTalk Nation.  (Full disclosure:  I get a huge pile of nothing for telling you about all this.)

It’s a very cool idea, allowing writers to escape our lonely, harsh lives—You know, “sit down and open a vein”—to hear how other writers do it, what their lives are like, where their inspiration and characters come from, etc.-squared.  So, go to booktalknation.com and see if it’s good for you.  Hit the “HELP” key in the upper right corner of their home page for answers to most of the questions you may already have.

The next interview is with Will Schwalbe, author of The End of Your Life Book Club (non-fiction), Thursday, March 7 at 3:00pm Pacific Time.  The next fiction tallk is Tuesday April 2, 7:00 PM EST / 4:00 PM PST with Christina Baker Kline, author of Orphan Train.

Oh, almost forgot.  If you have a book already published, you can click on a button at the lower left of BookTalk Nation’s home page to offer yourself for an interview spot, along with an indie bookstore you’d like to conduct it.  Which is a nice switch, the author getting to select the interviewer.

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My love-hate relationship with writing advice

I do not write in isolation.
I have a spouse (roommate/compatriot/lover/best friend) who expresses strong ideas about my lack       of self-promotion.
I am in three critique groups, each worthy of my devotion.
I have attended various writing retreats/programs (Centrum five times).
I was in a masters degree writing program (UC-Davis) before blowing town.
I spend several computer hours each day reading and researching about writing.
And it’s relevant to this piece that I began writing for publication well before the computer age, producing books, daily journalism, and academic stuff.

But I sometimes wonder whether I wouldn’t have been better off, writing production-wise, in a cell, solitarily confined.  How much have I gained from all of those (these) writing-related activities?

I cherish the comments I receive in critique groups, because the folks are usually paying attention to the work, though I use maybe one out of five comments.

I seldom go to writing conferences anymore because they yank me out of writing-mode, and most of the general advice I’ve heard before. The specific advice applicable to my pages hits home (is useful), again, maybe one in five.

As to writer-blogs and the bounties of the internet in general, it’s like trying to squash a one-pound slice of chocolate decadence cake into a four-ounce Chinese take-out container.  (Well, maybe not, though some of you will resonate to my meaning.)  Along with the tons of horrid junk available on the www, we can find some great stuff—Anne R. Allen’s blog, The Millions, Kristen Lamb , Jane Friedman, etc.—but even these take loads of time.   Sure, you can access the stuff fast, but you still need to digest and use it at far less than warp speed.  (One answer, of course, is for humans to evolve into cyborgs, which is not the sort of progress I would hope for.)

Maybe the origin of my problem lies way, way back in childhood.  “Shmuck!,” my mother used to say (not actually; it just felt that way), “Your eyes are too big for your stomach!”  I want the advice, but I don’t want it.  It takes too much time to get, then mostly reject.

So, who says I have to spend the time seeking it?  But if I don’t, then maybe I’m missing things.  A new writer-help program or product.  Insight or information about selling (a term I prefer to “submitting”) my writing.  New tricks for an ever-trickier trade.  The wonders of self/indie-publishing vs. the horrors of traditional publishing.  And vice versa.

And what if Asteriod XXX-fortyskugelfogwahwah passes too close to earth and wipes out all our data and programs and chapters?  What will literary (more or less) civilization do then?  Go back to the methods of Faulkner, Hemingway, Mansfield, Woolf, Huxley, Fitzgerald, Joyce, Wharton, Lawrence, Ferber, etc.?  Wouldn’t that be awful, to have a new generation that wrote with less advice and minimal machinery?

Laszlo Luddite, guest poster

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