Pen to Paper: Coping through Art

This is about writing in the sense that writing is an art, and being an artist of whatever sort can help carry you through difficult times.

The link is to a beautiful, bittersweet National Public Radio piece about a Smithsonian art exhibition titled The Art of Gaman.

“Gaman means to bear the seemingly unbearable with patience and dignity,” says Delphine Hirasuna. She is a third-generation Japanese-American and was imprisoned with her family in one of the rude internment camps during the fearful days after Pearl Harbor. The exhibition is of art created in the camps by American citizens who were deprived of their livelihoods and their liberties because they looked like the enemy. (N.B.: Neither German-Americans nor Italian-Americans suffered similarly.)

The story and the exhibition remind us that art can, in some ways, triumph over the darkness. It can keep us sane and even something resembling happy when happiness is but a distant memory. And out of the darkness can come beauty.

Pen to Paper: Really Listening to ‘High Fidelity’

I’m not a big fan of the cinema, but occasionally I’ll latch onto a movie and not turn it loose until I’ve wrung it dry of its secrets. I have to know why I like it so much; I want to know what makes it tick.

One such movie is High Fidelity, directed by Stephen Frears from Nick Hornby’s wonderful book and  starring John Cusack in a world-class performance.  I’ve studied that movie and learned some valuable things about plotting.  One of the keys to this story is the use of surprise. This is where I learned how crucial surprise can be in fiction.

Hideous, terrible spoilers begin here for those who haven’t viewed the movie. Do as you like, but you’ve been warned.

Continue reading “Pen to Paper: Really Listening to ‘High Fidelity’”

Fiction: Rain

The rain fell, because it could not rise to the occasion.

It fell, and fell, and fell, and did not hurt itself although it did not get up again.

The rain rained and would not be reined in, and it reigned over the night and the day and the next night, and the next day.

Tyler sat at the window, his chin resting on his hands resting on the back of a chair turned backwards, thinking increasingly soggy thoughts. At first the rain had merely been outside, as was proper. But the longer Tyler watched the rain – watched different segments of it, the uppermost part he could see from his second-story window, the middle part straight in front of him, and the lower part where it smacked into the pavement and individual raindrops joined the great wet – the more the rain came inside where he was and moistened his brain with raindrop-shaped thoughts and his brain soaked it all in like a sponge. Occasionally his brain could hold no more rain and some of it leaked out through his eyes, which he did his best not to notice.

Tyler was not immobile. He would occasionally get up, make and eat part of a sandwich, get a drink (because the rain both outside and inside parched his throat), go to the bathroom, feed his fish — all those things that sheer necessity forces upon a person, even one who wants nothing more than to sit stock still while the rain and life both trickle toward the storm drain.

But as much as he could, Tyler sat on his backward chair, looking out the window and feeling as gray as the clouds and the days.

Sometime during the rain a key turned in the lock of his apartment door. Only one other person had a key to that lock, and that was temporary because her absence, she had told him, would soon be permanent.

The last box of her stuff that had once been stuffed here and there throughout Tyler’s apartment sat on the coffee table, which was black with cream-colored highlights. From his bedroom where he watched the rain, Tyler could hear her open the purple envelope he had laid on top of her stuff where she could ignore it but could not help but see it. He could hear the card being slid out. Pause. She opened the card. Longer pause. Long sigh. He heard the card slide back into the envelope and the next sound made Tyler’s heart beat fast with fear because it was the sound of a card- and desperate plea-filled envelope landing on a black coffee table, perhaps near a cream-colored highlight. It had been signed, sealed, and delivered, then read, rejected, and returned.

An apartment key clanged as it hit the same table and Tyler winced. Then the contents of a small box jostled, the door opened, and the door closed.

Later, the rain tapered but did not gutter because the gutters were full of leaves, just as Tyler’s life was full of leave-taking and leaving him alone.

Pen to Paper: Best First Lines

I came across the American Book Review’s list of the 100 Best First Lines from Novels. Naturally, such a list can’t please everyone, if indeed anyone, but I don’t know how some of those fairly high on the list got there. Further, why is the 1st Baron Lytton’s infamous “dark and stormy night” on the list at all, let alone at number 22? Ah, well. That’s just what happens when I’m not consulted in such important matters.

I’ve got a couple of proposals of my own that were left off the list. We’ll get to those shortly, and I’ll look forward to seeing your thoughts and suggestions in the comments.

A good first line isn’t crucial. If the story picks up after that, it can survive a mediocre beginning. It’s all a matter of the tone a writer wishes to set for his story. But it’s so much easier to snare a reader with an introduction calculated to be intriguing. That’s always been useful, but in these days of Twitter and Internet-induced ADD it’s becoming increasingly important. Readers permit a writer fewer and fewer characters (not words, not paragraphs: characters) to say something interesting and lead them to the next set of characters. A writer, for his own sake, should quickly set a hook into the reader’s brain and drag him into the story.

Now, for my suggestions for the list. Perhaps neither was considered literary enough to be included, but they do their job beautifully:

“What can you say about a twenty-five-year-old girl who died? That she was beautiful and brilliant? That she loved Mozart and Bach, the Beatles, and me?”
— Erich Segal, Love Story

“He’d tried. God knew Jor-El had tried. But the end would come sooner even than he had thought. Probably before the sky over Kryptonopolis turned red with daylight one more time. Only a superman could finish pounding together the family-sized starcraft before stresses at the core of the planet splattered Krypton across the galaxy.”
– Elliot S. Maggin, Superman: Last Son of Krypton

(For what it’s worth, I believe Maggin is one of the most underrated writers of our day. That’s what happens when you start in comic books, but his prose and plotting are every bit as good as Arthur C. Clarke’s.)

Your turn: hit the comments.

Pen to Paper: Using Song Lyrics in Fiction

Author and poet Blake Morrison has an article at the Guardian’s website about using song lyrics in your fiction. It’s an excellent cautionary tale, and the moral of the story is given in the lead. Read it here.

In the non-fiction editing I do, I have to let the publisher know if I come across three words or more of lyrics that aren’t in the public domain (generally regarded as anything written before 1923). So what Morrison has written isn’t surprising to me, but I’m glad he’s given us the benefit of his learning curve. (The sums of money are given in British pounds. As of even date, the exchange rate is £1.5 equals $1.)

Morrison’s article refers to the laws in Great Britain, but there’s no substantial difference (so far as I can tell) here in the United States in copyright protections and remedies for violations. All these years, whenever someone has sung The Birthday Song in a TV show or movie or play, or written the words in a work of fiction, they’ve had to pay for the privilege. It’s not in the public domain; the authors have passed on, but Warner Music Group still owns the rights. As a refresher, see the U.S. Copyright Office’s page concerning Fair Use.

There are two simple ways to get around this: use the song’s title to refer to it, or paraphrase the lyrics. Here’s a combined example: “That was Jerry Lee Lewis with his Great Balls of Fire,” the announcer said. Jeff turned the radio off. “The only nerve-shaking and brain-rattling I’m interested in will be when that rocket lifts off tomorrow. That’s the only ball of fire I care about, too.” Do it without the announcer and readers still can figure out what song you’re referring to and it’s safe.

If you’re serious about using some lyrics, you have to contact the person who holds those rights. That can get terribly tricky because ownership of lyrics bounces around like paperbacks at a yard sale. It may well be that neither the lyricist nor the publisher own the rights. If it’s an older song still covered by copyright, you may find the publisher has gone out of business. Then you’re into some detective work on top of whatever the rights owner will charge you.

The laws don’t change just because you’re writing for fun or are selling your work on a limited scale. Here’s an instructive anecdote: Broadway playwright George S. Kaufman discovered that one of his plays was being staged by a summer-stock producer who hadn’t paid for the privilege. The fellow told Kaufman, “It’s only a small, insignificant theater.” Kaufman responded, “Then you’ll go to a small, insignificant jail.”

Re-read Morrison’s lead. That’s the bottom line.

New Content Coming to Catsignal

In an effort to make this a more full-service blog, I’m going to try to write more articles about writing. We’ll see how that goes. More practically, I’m going to hunt through the World Wide Web for brilliant or useful things other people have written about writing. These will be labeled “Pen to Paper” and will include a summary of what the article is about and a link thereto. I’ll aim at posting these on Mondays and Fridays.

I’m also going to post a weekly quote about writing or words or something related. Those will be labeled “Quotable” (isn’t that catchy?). You’ll see these on Wednesdays.

I hope you’ll find them useful.

Fiction: The Fur Line

Anna gave her new teddy bear one more hug and then set him on her bed facing the semicircle of her other teddy bears.

“All of you start becoming friends now,” she instructed. “I’ll be back after I eat dinner.” And she skipped out of her room.

Five light-furred teddy bears looked at the newcomer in their midst. He was shaped much like they were and had a similar smile on his face. But there the resemblance ended.

His fur was dark brown.

Continue reading “Fiction: The Fur Line”