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Sam van Zweden

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musings

The Terror of Actually Writing

TheReaderCover-SmallToday’s post was prompted by John Pace’s article in The Reader (pictured left), titled “Re-Draft with Craft”. It got me thinking about drafting, something I truly struggle with (and I suspect a lot of people do… like Dan Brown, and Bryce Courtney’s more recent work?)

While Pace’s article is directed at screenwriters, I believe it applies to all forms of writing, or even all forms of anything that requires drafting.

Pace gives some fantastic advice about drafting (obvious, yet helpful – this is how most creative-type advice seems to be, especially the helpful stuff), such as cutting out unnecessary “hangover” words in order to write punchy, economic pieces. What stood out to me most about this article, though, is something that spoke to my constant fear of starting.

I have long embraced the term “vomit draft” to describe that first terrifying committment of word to page. I pussyfoot around a piece, thinking on it for too long, scrapping it before I even get it onto a page. Pace suggests the more apt rule, “be wrong as fast as you can”, coined by Andrew Stanton (screenwriter of Wall-E and Finding Nemo). “Just get it down,” says Pace. “Don’t worry about its merit”.

Yes, I needed to be told this. I’m not a brave writer.

Later in the reader, Simonne Michelle-Wells, (in “A Letter to my Younger Self (from the time machine)” ) sits her younger self down for a chat, saying:
“You didn’t draft enough. Drafting and editing are not the same things and you happily convinced yourself they are. Editing requires sweat. Drafting requires blood. Tossing out an errant comma and deleting reams of superfluous adjectives is a leisurely jog compared to the marathon of unpicking a rambling narrative arc or killing off characters in the name of expediency.”

For such a long time, I have convinced myself of the same thing. Pace talks about one screenwriter who sits down to re-draft in front of a blank page. No cut-copy-paste, this writer starts again from scratch, with faith that the ideas that count will resurface.

THAT is brave writing.

Monica Wood’s “Pocket Muse” tells writers, “you have to be willing to write badly“… and I think that’s the key here. Without a willingness to “be wrong, as fast as I can,” I can’t even start to get it wrong. I’m too safe, too much of the time.

House.

On the weekend I went with some friends up to a very cool very abandoned house… when I got back I got to scribbling. And this is what came of it.

 

It was white once, but that was a long time ago.  There are leaves everywhere. Not just on the path and in the back yard, but in the hallways and staircases too. One whole side is surrounded by a massive balcony, which looks like it’s missing some flappers and cocktails.

It’s not locked. We walk around the back and go straight in, like coming home to this dilapidated old mansion.

Tara thinks it was once a part of Kew Cottages. We all picture disabled kids being tied up and pushed down stairs.

We crunch around on the lino for a while, drifting in and out of rooms. Chandeliers have been stolen and cords hang empty from the ceiling. There are NO SMOKING signs on every bedroom door.

The place is huge. At least 12 bedrooms, two big kitchens, three bathrooms. Hidden walk-in bits – cellars, pantries, something that looks like a jail cell.
“Where they were put when they were naughty,” says Tara. Words that could be a joke, but she’s absolutely serious.

There’s a little door at the end of a living room down stairs, which leads to a cold cement landing. More stairs, into a pointless cold room with a bizarre crevice hidden behind another wall.

The downstairs kitchen reminds me of the way RSLs were before they were replaced by the bright shiny things that flash and swallow pensions, telling us about the brave men who fought hard to give us this life.

In this old demented castle there’s little type-written placards stuck around the place.
“ROOM 12- 3 BEDS”
They must have dormed people in these bedrooms.

There’s something written in an Asian script above a heap of switches, which Ollie flicks a bunch of. They do nothing, of course – electricity left this house years ago.

We wander around downstairs, a weird sort of basement with too many rooms and hidden things nd not many windows.

“Maybe it was a student share house.”
“Wonder what the rent on a place like this would be?”
“That room wasn’t that colour last time I was here. It’s been painted. Maybe someone’s doing it up.”
“But its unlocked”

Something hits the floor upstairs. We all stop talking. I’ve heard that kind of noise few times as we’ve been walking around, but I put it down to wind. I was avoiding creeping myself out.

Tara looks at me, wide-eyed and excited, like she wants some hellish crazy thing to happen and scare the shit out of us all.

We had passed a cop car when we were walking down here.
“That’s always comforting when you’re going to break into a house,” Danny had said.

Maybe it’s the cops, one of the neighbours made a call.

Maybe it’s a squatter.

A Bird?

Wind.

Ollie creeps up the stairs super-slow, making it lookke a farce, but nobody says a word.

“We should probably go soon,” I mumble, and everyone falls over their agreement as we slide out th nearest door and find an open gate.

When we’re safely back on the road we explode into adrenaline-fuelled rants of how cool and creepy that all was. We feel manly and brave.

That night I dream about it though, about a mean Neanderthal-looking man dragging himself around that dirty art-deco villa with its missing chandeliers a awkward rooms.

When we get home I look the place up. It was an aged-care facility, assisted housing. This makes the place both more and less scary.

Part of me wants to go back there, to chill out in its ancient emptiness. But the rest of me thinks of that Neanderthal dude that my mind invented and I’m just too scared.

Favourite Books of Housewife-times

Today I recieved an email from Borders, which proudly announced to me that they had finally decided on this year’s “Favourite Books of All Time”.

These lists always excite me, beyond all reason. I love going through them and seeing how many I’ve read, printing them out and trying to tick off the whole list.

However, I found Borders’ list endlessly disappointing (though Dymocks didn’t fare much better this year). Favourite books of all time, you say?

I’m not sure how I feel about Jodi Picoult being a new addition to the canon, or Dan Brown for that matter. Don’t get me wrong – I’m not a literature snob. I’m all for the idea of trashing the idea of “a canon of literature” all together and reclaiming the word for the people, because it’s all we’ve got. But if you’re going to publish something and claim that it represents all time, please, oh please, don’t include Bryce-I-got-famous-and-stopped-listening-to-editors-Courtney.

For the record, I have only read 27 of the books listed. Usually I hit about 50. This isn’t why I’m upset though – WHY is Confereracy of Dunces way down at #93?! American Psycho #86?! The Princess Bride at #99?!?!?!

What I’m upset about is that Jodi Picoult makes it to #4, while way down on the other end of the list withers HST, William Goldman, and John Kennedy Toole.

What this seems to be to me is a “Favourite Books of Housewife-Times”, listing those books stay-at-home-mum’s read in their spare ten minutes. And that’s not to berate stay-at-home-mum’s or writers like Stephanie Myer and Jodi Picoult. But, the majority of books on this list are books that I read and forget. Not that they aren’t enjoyable to read, or that they don’t take me somewhere quite lovely for a little while. But what I hope for in these lists is something that sticks with me for longer than a week, and has some potential to teach me something about the world.

Please, Borders, Dymocks, all major book-sellers. Don’t paint yourself as the place for cheap books for housewives. I lean on the side of indepentant book-sellers 99% of the time anyway, you’re not doing yourself any favours.

 

S

Flash Fiction

I have a nipple piercing. I’ve had it for about a year, and it’s still the most painful thing I’ve ever done – for a week, it felt like I had a tiny tiny kitten hanging from my nipple by its teeth. That is, it was the most painful thing I’ve done, up until this morning, when my barbell got caught on a towel and ripped my nipple. Yes, ripped.

There was blood, and swearing, and panic. I explained my problem to a chemist, who got very nervous and gave me some butterfly strips to hold it all together. When my piercer opened I rang them, and they told me I’d done the right thing. With a bit of diligent care and some luck, the blessed thing will heal and not migrate.

This was a dramatic start to my day. Enough to make me curl up and sulk a little, and settle into checking out some fantastic writing.

So, to continue from my “Simplicity” post yesterday, I’d like to introduce Flash Fiction.

“Flash fiction” is the actual name for what I was talking about yesterday – very very short fiction. This is done in many different ways…
Some publications ask for a maximum of 140 characters.
Some want six sentances.
Others simply want something
under 1000 words.

Point is, they’re rather short happenings. And this works for me, with my short attention span and plot-retardation.  This also works for readers like me, I like being paid for my investment promptly.

Almost everything I write fits into the “Flash Fiction” category, given the above definitions.

So here is mine for today, with more to come in future:

“She takes ugly photos of her lips, just to see if people are paying attention. Twelve hits in five days. So she takes photos of her pretty feet, to see if people are paying attention.”

Simplicity

Simplicity is a wonderous thing. Something I feel I can’t quite master.

Some writers can use surprisingly few words to get so much done.

Hemingway wrote; “For Sale: Baby shoes, never worn”.
SIX WORDS! !?!?!?!?!? So many questions float around this one tiny sentence.

In his recent novel, “The Death of Bunny Munro,” Nick Cave uses amazing cultural shorthand. Mums in velour tracksuits. Crazy man in a floral mumu with a potplant.

Raymond Carver’s work always operates this way. “Why Don’t You Dance” – a lounge setting on the lawn. Simple. But haunting.

Today I came across Mercedes Yardley’s Ultra shorts.
121 Characters is amazing – tells of a whole world in the same way that Hemmingway’s baby shoes do.

What is it about all this simplicity that works? Are some people just born with this knack for simplicity? Is there a rule to it all that makes it work? Is it possible to learn?

I’m a…

Due kudos should be given to Globalwrite, for this article.
It inspired me today, forced me into a bit of introspection…

I’m a student who cannot study. I jot little ideas, tiny one liners that are intended to take full form somewhere in the body of an essay. By the time I return to these ideas they’re flaccid.

I’m a lazy person who can’t sleep. Every bump in the night is an intruder. My lover stops breathing so I watch him just to make sure. There’s a coo-ing and a scratching coming from the ceiling-chickens. Rest just isn’t an option.

I’m a writer who never writes. I have my five-word truisms scribbled somewhere for safekeeping. My one-line journals, which take shape over a day and are never as whitty on re-visiting. My blog, which seems to be a string of the same post over and over…and over.

I’m a person who can’t think. I can’t, therefore I…?

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