Sexy Northerner

So, who had “this revision won’t be as easy as Greg thought it would be” on their Gregalicious trials-and-travails bingo card?

Well, congratulations, you were correct. This reminds me of the time when I thought, oh I’ll just turn this Scotty manuscript into a Chanse, it’ll be easy and no, it really wasn’t. It was actually a nightmare, but eventually, after much anguish, stress, and aggravation, I did get it done and I was pretty pleased with the final outcome. I got up early yesterday morning and wrote an entirely new first chapter of Bury Me in Shadows, and one that was much better than any of the original attempts, so there’s that. Chapter Two was more of a slog, since I was trying to save more material so I wouldn’t have to write new material, but it’s going to need some going over again to make sure the transition from the old original story to the new is seamless. On the plus side–there’s always a plus side, even if I have to really dig deep down for it–the new material I am writing is good, and I like this iteration of the character much better than I did in the previous drafts; and his backstory is much better than it was originally. I also love the new opening. And making these changes actually eliminates a big hole in the story–something I could never really quite figure out–it was one of those things that had to happen for the story to happen, but it only made sense in THAT context, and that was driving me completely insane.

You can’t do that. It’s called “contrivance,” and there’s nothing that makes me more irritated or annoyed with a writer (or a movie or a TV show) where something happens only because it’s necessary for the story and only makes sense in that particular context. (I mean, obviously you can, and plenty of writers do, but it’s fucking lazy, and you shouldn’t, and if you do, and your editor doesn’t stop you…yeah, well.)

I also spent some time with Kelly J. Ford’s Cottonmouths, which I am really enjoying. I just wish I had more time to read, you know? I am so fucking far behind on my reading.

We also started watching HBO’s I’ll Be Gone in the Dark, which is very well done and very creepy. One of the things that terrifies me–which therefore also interests and fascinates me–is the concept of not being safe in your own home; that we all have this incredible illusion of security and safety in our homes–and neighborhoods, for that matter–and so we often are caught off-guard or by surprise by violence, or, as the theorists would say, the introduction of a Dionysian element into our safe, secure worlds. “The Carriage House” is that kind of story; so is “Neighborhood Alert” to a degree, as is the one I just sold, “Night Follows Night,” which is about not being safe in a supermarket because that was something I thought was interesting; you never think you aren’t safe in a bright public place full of employees and other shoppers until you actually aren’t. This is something Stephen King does very well; the introduction of something Dionysian into an ordinary, sedate, everyday kind of environment, and how normal everyday people react in those kinds of situations; some rise to the challenge, others do not.

Anyway, I’ll Be Gone in the Dark is just that–a true crime documentary based on the book by the late Michelle McNamara about her investigation into the Golden State Killer, and how that all came about. When you listen to the stories of the victims, and remember what it was like in in the 1970’s for women who were raped (not that things have gotten much better since then, but at least as bad as it is now it’s not as bad as it was then–not a laurel we as a society should be resting on any time soon, frankly), but how the rapes and murders happened in these quiet middle class suburban type enclaves where no one ever expected anything bad to ever happen (I’ve always wanted to write a book based on a murder that happened in the suburb of Chicago I lived in during my early teens; the killer and one of the accomplices were students at my high school; I knew the accomplice’s two younger sisters quite well); and I also lived in Fresno during the later part of the Golden State Killer’s run–but he had moved on to Southern California by then. I was stuck by the old footage of these neighborhoods in Sacramento, and how like our neighborhood in Fresno (Clovis, actually; a suburb of Fresno) and how closed off the houses were from their neighbors and the street–with small front yards and an enormous garage in the very front of the houses, which were in U shapes. My bedroom was the other side of the U from the garage and there were bars on the windows so no one could ever come in. My curtains were always closed so I could never see out onto the street or no one could see in; every once in a while on nights when I couldn’t sleep I would scare myself by thinking if I opened the curtains someone would be there–because it was very easy to get to, even if the bars precluded anyone from getting inside. Sliding glass doors were also very popular in houses back then, if not the most secure thing to have in your house, really.

And naturally, I started writing a short story in my head while I watched, about a bickering couple who come home early from a party because they got into a fight and are still fighting as they pull into their driveway and arguing still as they go into the house where they find their fifteen year old daughter bound and gagged in the living room with the sliding glass door to the backyard and pool area open, the curtains blowing in the night breeze. I don’t know the whole story, or how it ends, or even where it goes from there–which is why I have so many unfinished short stories in my files.

Heavy sigh.

There’s a tornado watch in Terrebonne and Lafourche parishes this morning, which probably means rain for most (or part) of the day here as well. It seems kind of gloomy and overcast out there, but brighter than it has been the last three mornings–when it rained a lot–so we’ll see how this day goes.

But it’s Monday, the start of a new week, and here’s hoping that I’ll be able to find time to not only read this week but time to work on the manuscript. Perchance to dream, I suppose.

Have a lovely week, Constant Reader!

Go West

Good morning, Thursday; just today and tomorrow before we slide into another delightful three day weekend. Memorial Day! Huzzah! I am always about another day off from the day job–which I completely understand that it sounds like I don’t like my day job, which couldn’t be further from the truth. I just enjoy not having to go to work more than I enjoy going to work; I’m not sure how everyone else comes down on that category, but I’d be more than willing to bet that most people prefer their days off to their days on.

I could be wrong, but I rather doubt it.

Anyway, here I am at the crack of dawn swilling down coffee and trying to get more awake and alert. I am looking at a long day of screening at both buildings (Marine in the morning, Elysian Fields in the afternoon) and right now it seems like its about a million years staring into my face. But I will persevere, and deal with the heavy traffic on the way home just after five. Tomorrow is the Friday of a long weekend, which is absolutely lovely, and my ink cartridge was delivered yesterday so I can pick it up on my way into the office tomorrow and actually start printing shit I need to print again this weekend. Yesterday was a relatively good day, despite being tired–that tired lasted again, like the day before, pretty much all day–but I managed to get my errands accomplished after work and got some organizing and straightening done in the kitchen/office area; always a plus. Paul was a little late getting home last night, but we watched an episode of The Great and then I started streaming The Story of Soaps, an ABC show about the history of the soaps–just to see if it was any good–and it was quite enjoyable; I’ll look forward to watching the rest of it this evening. I watched soaps from the time I was a kid–our babysitter in the summer watched General Hospital, One Life to Live, and Dark Shadows, which is how I got started watching them, and over the years I remained pretty (fairly) loyal to General Hospital and One Life to Live. The summer we moved to Kansas, until we got cable we only got the CBS affiliate from Kansas City, so my mom and I ended up watching the CBS shows–from The Young and the Restless through Search for Tomorrow, As the World Turns, Guiding Light, and The Edge of Night. After cable, we watched General Hospital–it was the late 1970’s by then, and everyone was watching General Hospital by that point.

It’s interesting, in some ways, that our moves–my moves–gradually went west. The suburb we moved to when we left the south side of Chicago was west; from there to Kansas, and from there to California. I started heading more and more east from California, to Houston and then to Tampa, before going north to Minneapolis and coming back south to New Orleans. I never thought about it too much, really; but it’s interesting how I’ve moved around the country and the strange pattern to it. Of course, we’ve been in New Orleans since 1996 (barring that year in Washington), and since I’ve lived here longer than I have anywhere else, I tend to think of New Orleans as home more than I’ve ever thought of the places I’ve lived previously. Granted, had we never left Chicago, I probably would think of Chicago as home, but I’ve literally only been back to Chicago maybe twice, possibly three times, since departing the area in 1975. I’ve never been back to Kansas, and I’ve been to Houston many times since I moved to Tampa–but only twice to Tampa since leaving there (I’ve actually been to Orlando quite a bit; I’d say I’ve visited Orlando more than anywhere other than Houston over the last twenty-odd years).

I tend to not write about Florida, for the most part; while I’ve written about a fictional city in California based on Fresno in the Frat Boy books (the third was set in a different fictional California city, San Felice, based on Santa Barbara), and I’ve written about the panhandle of Florida, I’ve never really based anything on, or written about, the real Tampa or a city based on it (I do have ideas for some stories set in “Bay City”); I’ve not really written about Houston, either. My fiction has always primarily been set in New Orleans, with a few books scattered about other places (Alabama, Kansas, a mountain town in California called Woodbridge) but it’s almost inevitably New Orleans I write about; which makes sense. I live here, I love it here, and I will probably die in New Orleans.

And I’m fine with that, frankly.

“Go West” is also a song I associate with New Orleans, actually. I know it was originally a Village People recording–which I actually never heard before the Pet Shop Boys covered it–but I always associate it with 1994 and when I first started coming to New Orleans; it, along with Erasure’s “Always” were the big hits of the moment that were always being played in gay bars, and I heard them both for the first time on the dance floor at the Parade on my thirty-third birthday; which was also the first time I ever did Ecstasy. So, whenever I hear “Go West” by the Pet Shop Boys, I always think back to that birthday and that trip to New Orleans (“Always” has the same affect, but not as intensely; I’ve never been able to find the proper dance remix the Parade used to play–and in fact, a lyric of the song, “Hold On To The Night”, became a short story I’ve never published anywhere–and haven’t even tried to revise in almost thirty years. It wasn’t a crime story; I was writing gay short stories then, about gay life in New Orleans–and no, I never published the vast majority of them (with the sole exception of “Stigmata”, which was published in an anthology that came and went very quickly), although I did adapt some of them into erotica stories and some could easily be adapted into crime stories…I know a fragment of one, I think, morphed into “Someone to Lay Down Beside Me,” which was published in Jerry Wheeler’s The Dirty Diner anthology, and was probably reprinted in Promises in Every Star.

I should probably pull those stories out again and see if there’s anything I can do with them,

And on that note, I am heading back into the spice mines.

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Coal Miner’s Daughter

Wednesday, and here we are, in the middle of the week suddenly. It’s also a new month; didn’t March seem to last forever, to the point where it actually felt like it wasn’t just March but Bataan Death March? Does anyone besides me even know what the Bataan Death March was? Americans’ grasp and knowledge of our own history is astonishingly slender and leaves a lot to be desired–which is why the same policies that have failed, repeatedly, throughout our history–“trickle down economics”, anyone–always end up coming back around and fucking us all over again, repeatedly, as new generations continue to be fooled by the desire of the rich and the corporations to fuck us repeatedly, counting on the knowledge that no one knows it has all happened before.

It is astonishing how no one studies the past so we can learn from mistakes made and not repeat them, isn’t it?

I’m actually not, as today’s title might suggest, a coal miner’s daughter but actually a coal miner’s grandson; my grandfather was a coal miner, and received disability until the day he died for the black lung disease he acquired as a result. Alabama isn’t known for coal mining, and I do know that he used to go away to work in the coal mines, so I’m not exactly sure where it was he went to do the work; as a child I didn’t really listen to the stories as closely as perhaps I should have, or it’s the old memory-sieve thing, but I do remember seeing Coal Miner’s Daughter in the theater when it was released, and thinking, when they showed the shack Loretta Lynn grew up in, how similar it was to my maternal grandmother’s house. The house my father grew up in–where my grandfather lived up till pretty close to when he died, I think–wasn’t as ramshackle as my maternal grandmother’s. It never dawned on me to think about how much poverty my parents grew up as children; my maternal grandfather died when my mother was around eleven, and so the only money they ever got was his military pension from serving in the Pacific during the war–and it wasn’t much. My grandmother used to make most of her children’s clothes as well as her own; when I was a kid I remember my mother had mad sewing skills, but they fell into disuse as we moved up the economic ladder as I got older. My parents were, in fact, a perfect example of the upward mobility, the American dream, as it used to exist in those decades that followed the second world war. They married young and moved to Chicago when they were barely twenty and had two small children; they both worked in factories while my dad went to school at night to finish his engineering degree. By the time they were thirty they owned a house in the suburbs and my father was on his way up the corporate ladder; my mom stopped working when he finally made it to management and we were transferred to Kansas. It was always ironic to me that when I was a small child my parents both worked while everyone else I knew’s mom was a housewife; when the economy shifted in my teens my mother became a housewife while most other families became two income.

I didn’t grow up in Alabama, but I grew up thinking of Alabama as home and was raised to have a fierce, deep pride in not only being Southern but in Alabama. I grew up understanding the importance of both Alabama and Auburn football to the pride of the state, and pride in that the fierce rivalry between the two programs was one of the biggest and best in college football. My love for Alabama has grown more conflicted over the years, as I began to reexamine things I was raised to believe in as moral and right and developed my own code of ethics, morality, and right and wrong. Writing Bury Me in Shadows is, in some ways, an attempt to regurgitate and make sense of that through writing. The vast majority of my writing has always firmly centered New Orleans, and writing about New Orleans is probably what I’m best known for, if I am known at all. I have written bits and pieces here and there about other places I’ve lived; I turned Fresno into Polk for the frat boy books, and Tampa into Bay City for other stories, and of course, with the exception of Dark Tide, which was set in the panhandle of Alabama, I primarily fictionalize where I’m from in Alabama as Corinth County–which is where the main character of Dark Tide was from.

Bury Me in Shadows is my first book-length writing about Corinth County; and I decided to show it from the perspective of a native who didn’t grow up there, whose mother moved away before he was born, and has spent very little time there–and hasn’t, in fact, been there since he was eight years old. I am having some fun with it–you can’t go wrong with a meth lab, a burned out plantation house, and the rural woods in northwest Alabama–but it needs some work, and I think I’ve been away from it long enough now so that when I do have the time to go back and start revising and reworking and getting it ready to turn in, my eyes and perspective will be fresh.

I am starting to get more tired though, and it’s harder to get up in the morning than it was earlier in the week. I am only working the morning shift today; this afternoon I have some errands to run and I am going to do some work at home. I think that will help me with the tiredness–the screening process can be draining–and if I get my work done early, I can maybe spend some time reading or writing. I was too tired to read much more of “The Archduchess,” the du Maurier tale I am trying to get through this week, but it’s very interesting. The darkness that always imbues her work is there as the story goes on, which is about a very small European nation whose spring water has some kind of mystical rejuvenating power, but I haven’t gotten to the meat of the story as of yet. But it’s interesting, and I am curious to see where she is going with the story.

I also have a gazillion emails to try to get answered at some point today.

Just thinking about it makes me tired.

And on that note, it’s off to the spice mines. Have a lovely, lovely day, Constant Reader.

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Blowing Kisses in the Wind

Rereading ‘salem’s Lot again, after many years, has proven to be quite a treat: there was clearly a reason why I loved this book so much and why I’ve reread it about a gazillion times. It has always been my favorite vampire novel, and certainly one of my favorite horror novels. It scared the shit out of me when I first read it back when I was a teenager, and it has always entertained me, every single I’ve read it, even though I know what’s going on in the town, what’s going to happen, who lives, who dies. I remember there’s been talk over the years–I think even Stephen King may have aided and abetted this at times–that there might be a sequel; I’ve long since given up on that hope–despite always wanting to know whatever became of Ben Mears and Mark Petrie…and did they ever return to that awful town in Maine?

In the 1980’s, I decided that I wanted to be a writer like Stephen King. I started writing horror short stories, and even came up with an idea for a full-length horror novel called The Enchantress; I still have those four chapters I wrote in my files before I finally put it away for good. The book itself, while influenced most strongly by King, was also influenced by Peter Straub’s Floating Dragon, which I had also recently read–I’d loved Ghost Story and If You Could See Me Now–and wanted to write about, the way King did so often, a small town where something supernatural–and terrifying–happens. I blatantly copied the narrative structure of Floating Dragon (oh look! Four different point of view characters! One an old man, one a child, one a man in his early thirties, and the other a woman with psychic abilities that have basically cursed her life!) but I was also trying to weave some other elements into the story that might not have ultimately worked; it was set in the panhandle of Florida, for one thing, and it had to do with the curse of a witch on four different families (a la Floating Dragon, only he didn’t have a witch), and I don’t think that would have ultimately worked. The idea was also built around a concept I had, an idea, about evil, killer mermaids. I eventually used some of the story and the concepts for Dark Tide, whose original working title was Mermaid Inn.

It’s funny that rereading ‘salem’s Lot brings back such weird memories, isn’t it? I may get around to writing The Enchantress someday–it just can’t be set in Florida, because it needs cliffs–so maybe I’ll move it to a fictional town on the California coast.

Like King–another thing I stole from him–almost all of my books are connected to each other in some way. For years, the connection between the Chanse and Scotty series were my cops–Venus Casanova and Blaine Tujague–appeared in both series; why have different homicide cops in the same city? I had originally intended to connect everything; Woodbridge in California, from Sleeping Angel and Sorceress are connected to the small town in Kansas from Sara; I don’t recall off the top of my head how Lake Thirteen plays into my world-building; but I think the Chicago suburb where the main character in that book is from was the same suburb that the kid from Sara was from, and so on. I always wanted to go back and write some more about Woodbridge; I kind of saw my teen/young adult fiction as being similar in type and style as the Fear Street series by R. L. Stine; which were all in the same town and often minor characters in one book was the main character in another. (Woodbridge was loosely based on Sonora, where some of my college friends were from; I visited them several times up there in the mountains and it was stunningly beautiful up there. One of the few great things about spending the 1980’s in Fresno was accessibility to Yosemite, Sierra National Forest, and Kings Canyon.)

I may get back to this at some point; Bury Me in Satin is connected in that it returns to the part of Alabama where the main character in Dark Tide is from, and more connections might develop as I write the book. I’ve pretty much decided to try to get the first draft of Bury Me in Satin written for Nanowrimo, which is something I’ve never done before; but why not? I am not going to officially participate, but why not use it as a goal to get the first draft of the story done?

I am on chapter nineteen of the revision of Royal Street Reveillon; one big strong last push is all it will take for me to get that finished by the end of the month, and I am enormously pleased at the prospect. It’s shaping up nicely; I think there are still a few holes in the story I am going to have to figure out how to plug later, but that’s perfectly fine.

And now, back to the spice mines.

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