fiction

George Saunders Saunters Through Your Writing Mind (Klara Too)

Posted on by Tom Bentley


First, a PSA (Publications Service Announcement): hie your mouse over to Story Club with George Saunders and subscribe, at the very least (as I am so far) to the free version of his newsletter. Mr. Saunders, the famed author of Lincoln in the Bardo and other acclaimed fictions, is the genial host for some exacting and often exhilarating voyages into what makes a story, what makes a scene, what makes a sentence.

Here’s just an appetizer, chosen without having to look far (because so much of what he writes is good), from one of his posts:

As we get better at choosing, we come to know the feeling of a good swerve vs. a bad one. We come to sense when we are working too hard to provide specific details and thus over-packing our story and making it feel unnatural; we come to sense when we skim past a place where we might want to linger. We learn the tiny mind-adjustments that cause good phrases to appear. We learn how our writing sounds when we are leaning too much on the analytical mind. We learn – we actually can learn – how to steer our minds toward an intuitive place from which it will surprise and delight and sometimes shock us.

George Saunders’ thoughts on writing are excellent. The comments on his posts (and his comments back) are excellent. The punctuation is excellent. Subscribe and thrive.

Klara’s Warm Suns

Sometimes, even through a lifetime of reading good writing, I forget that some books can cast a complete spell, can put you in a state of enchantment. And then, having been enchanted, can threaten that conjured warmth so that your emotional investment increases.

I recently finished Kazuo Ishiguro’s Klara and the Sun and was spellbound. Ishiguro creates a world in an undated future, where children are often raised with companion robots (“AFs”) for security and comfort. But “robot” isn’t the right word: Klara, the protagonist of the tale, is a sentient being, endlessly curious about the ways of humans and ever adjusting her behaviors based on her fine-tuned observations.

We hear her thoughts immediately in the work, for she is the first-person narrator, and those thoughts, sometimes alarmed, sometimes amusing, are beguiling. Because Klara the artificial life-form makes many judgments that are somewhat off, that dislocation can be charming—and then alarming, as you become more aligned with her being, and fear for her and her mistakes.

Klara is purchased to be the companion for an ill child named Josie, whose serious condition is Klara’s deep concern. I won’t go into the murky and often tense, skirted-about structure of how children are raised and positioned (or demoted) for societal success in this odd world, because it gives away too much of the plot, but Ishiguro is masterful in pulling you, without argument, into Klara’s corner—you root for her, fear for her, shine with her triumphs.

Who’s the Robot Here?

The humans in the book, as humans ever are, are struggles in kindness, resentments, schemes and vanities. Klara’s discernments and confusions over human behavior, her puzzling and speculating, continue throughout the work, and my anxiety over her fate confirmed Ishiguro’s skill in making her real. Ethics and moral decisions are structures in the book, but not abstract notions.

I don’t want to give away any more about the work, but I’m jealous of his ability to invite you to an experience in empathy—what a gift to so steep a reader in these feelings. Ishiguro wrote Remains of the Day too, a book that deals with subtle feelings and constrained emotion. I have only seen the movie, which is good, but I want to read the book.

And back to Klara: even the cover got me, so I had to give it lead billing here. George, forgive me.

Links to Thinks

Following are two of my newest boozy pieces, plus a few articles on psychic good cheer. Cheers!

Finishing Touches

Spirits producers can’t let their products rest. At least completely rest, until they put them in a barrel that had some other spirit (or some odd concoction) in it. The practice known as barrel finishing is making new rounds, and sometimes with some unusual barrels. Published in March 2022 in Craft Spirits Magazine.

Irish Distilleries Will Have Their Whiskey Way with You

I haven’t made it to Ireland—yet. But many of their fine whiskeys have made their way to me. If you’re on your way to the fabled old sod, here are some of their distilleries that will amply host your thirst. Published in March 2022 on the fine spirits blog known as Flaviar.

This Year, Try Spring Cleaning Your Brain

Why It’s So Important to Remember That Online Trolls Are Lonely Weirdos

8 Ways to Read (a Lot) More Books This Year

 

Please Add Chocolate Cake to My Apocalypse Order

Posted on by Tom Bentley

Photo by Karolina Grabowska from Pexels


Samuel Beckett, that existentialist coyote, has a couple of quotes from his stories and plays that are regularly used to shore one’s self up, even if the quotes seem to be wearing black frocks and carrying scythes. There is the pithy “You must go on. I can’t go on. I’ll go on,” which reminds me of the Black Knight in Monty Python’s “In Search of the Holy Grail” who is in a sword fight, gets his legs and arms cut off and says, “It’s only a flesh wound,” and battles on.

Then there’s Beckett’s “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better,” adopted by Silicon Valley bro culture as a kind of entrepreneurial mantra. (No bro ever mentions the following paragraphs, with their “Throw up and go … Throw up and back … Throw up for good” and like phrases, which suggest that failing better could necessitate many hot showers.)

Beckett, who had to be a gas at parties, had a bleak outlook on human nature, but leavened it an inch or so with black humor. He never saw 2020, but he would have had some thoughts about it, even if they would be monosyllabic and soaked in bitter herbs. I haven’t thrown up for good, but I definitely feel like I’ve thrown up and back. I suspect much of our country feels the same way.

So, it’s been a melancholic period for me, with inspiration in short supply: a deadly virus, apocalyptic fires in the West and a megalomaniacal president does that to a fellow. I have mostly been working—including trying to get it in front of agents and publishers—on the memoir from my larcenous high school days; you can see what that’s about in the first link below. (By the way, I found a nice resource on querying information at QueryLetter.)

Otherwise, I can’t seem to get my engine started to write any fiction, since truth is not only stranger than fiction these days, it also makes me want to nap. I am going to do some website revamping, and more targeted querying for some articles I am enthusiastic about writing. Enthusiasm, I invite you back.

I hope you are all doing well with your writing work and in your lives. Cheerio!

Linkability

The list is a bit deceiving because I hadn’t put new publications in my last couple of blog posts—lately all I’ve been hearing is “our budget has been cut” and “sorry” from editors (if I hear anything at all). But here’s some of my most recent work. August, sigh, seems like 10 years ago…

Missing Some Memories? I Might Have Stolen Them

Memoirs can take many turns—mine turns towards crime. Specifically, the years I spent as a high-school shoplifter, taking orders and selling the goods. Scandal! Here I go through the mechanics of writing memoirs, best practices and the galling lack of shame I had as a teenage hooligan. Published by the fine folks at WriterUnboxed in September 2020.

The Magic Of Malting Makes For California Whiskey Wonders

Carefully tended malted grains give whiskey (and beer) some oomph. This piece of mine explains some of the techniques, some quite old, in producing quality malts, and the quaffable results. Published in September 2020 by the WhiskeyWash newsletter.

Why the 4468 Mallard Is Such a Badass Train

The speed record for the world’s fastest steam train is held by the Mallard. Set in 1938, at 126mph. Still the record today—that’s steaming. Published in September 2020 on Popular Mechanics magazine.

Pet Sitting Disasters: Read This Before You Apply for Your Next Pet-Sitting Gig.

My account of lunatic, scary, and bewildering experiences house-sitting crazed pets in many parts of the world. Published in September 2020 on The Professional Hobo. (Originally published on the now-defunct Bluntly Magazine.)

Kayaking Elkhorn Slough is a wildlife and otter lover’s delight

My piece on a lovely day amidst the wildlife (among them my girlfriend) of diverse and diverting Elkhorn Slough in central California. Published in August 2020 in the San Jose Mercury News.

Hands-on Ecuadorian Artisans Are Hands-Down Amazing

My belatedly published piece on a pre-pandemic trip to Ecuador, where my sweetheart and I saw the appealing handiwork of impressively talented artists across many disciplines. Published in August 2020 on Dave’s Travel Corner.

A Treehouse for Adults

The next best thing to flying in your Airstream: glamping in one that’s 25 feet up off the ground. Published in the Summer 2020 edition of Airstream Life magazine. (c) 2020 Airstream Life, published with permission.

Amazing Grace, the Trailer that Makes Memories (and Holds Them, Too)

The inspiring life and early death of a beloved daughter prompted her parents to start foundations in her honor, and name their Airstream after her too. Published in the Summer 2020 edition of Airstream Life magazine. (c) 2020 Airstream Life, published with permission.

And on the mental health front, a front I need in the back as well, here are some pieces from other writers that have been helpful.

Take Ownership of Your Future Self

Curiosity: The Key To A Long Life

Optimism Makes Your Brain Work Better

To Do Your Best Work, Use the 85% Rule

Seeking Happiness Won’t Help You Make Major Personal Decisions. Here’s What Will

Stop Procrastinating Today With Behavioral Science

Five Fiction Sites That Tell the Facts

Posted on by Tom Bentley


Once in a while I do a round-up post that lists my go-to sites for fiction-writing advice. Maybe not so oddly, some of the same names come up over and over—not because I’m lazy (don’t roll your eyes), but because the people that populate these sites know their stuff.

And that stuff is all about how to write, how to think about writing, how to write about thinking. As well as all that gritty craft stuff: story arcs, theme, setting, character development, side plots, secondary characters, beginnings, endings, denouements and other fancy words that might be spelled “climax,” and maybe even how to use a semicolon once in a while. (Hint: use tongs.)

Most of the solid citizens below have newsletters that will remind you, with pleasure, why you subscribed.

Writer Unboxed

Consistently good pieces on craft and craftiness (and an occasional jeremiad on the trials of the writing life), written by established writers, up-and-coming writers, and writers who recently realized that every letter of the alphabet is theirs. This is a strong writing community: the comments section is often the heart of the writerly dissection, and that’s saying something, because the posts are gold.

Steven Pressfield

Frank discussions on writing foibles and follies, from a guy who made “The Resistance” mean more than just rolling your eyes at the White House. Pressfield is a novelist and nonfiction writer who writes with succinct zing on what keeps us from writing, and how to wipe the cobwebs off your keyboard and get going.

Jane Friedman

Friedman covers all things publishing, which is a lot of coverage. Tons of info on self-publishing and indies, with example best practices and how-tos. Her material ranges from good cover design to Amazon analytics (and speaking of Amazon, her information covers the industry practices as well). There are also guest posts on matters of craft for fiction and nonfiction writers alike.

The Creative Penn

An established thriller writer and writer of nonfiction books on writing subjects (many on self-publishing), Penn seems tireless, since she also puts out a great podcast on publishing matters. Good tools/resource lists on a spectrum of writing concerns. Do check out her free Author 2.0 Blueprint book. Penn, who probably couldn’t stand still as a child, now has a travel and writing blog and podcast too.

Funds for Writers

No, they aren’t just going to dole out dough to you, you underfunded writer you—I already asked. But the free newsletter lists lots of writing grants and retreats, writing contests, job markets and guest columns on writing, both fiction and non. Hope Clark, the author of many mystery novels (recommended!) who runs the joint, is tough and charming at the same time. Her column is personal, sometimes blunt, and always worth the read.

Bonus Lie
K. M. Weiland

Hah, I lied, so I could preserve the alliteration in the subject line. I must recommend six sites, because the sixth provides some sixth senses about writing fiction. Weiland, writer of speculative fiction and nonfiction writing guides, gives solid advice on pretty much every brick in the writing castle, from outlining, to writing scenes, to understanding the differences between plot and theme to every little way a character can wiggle. (And I have to say, “and much more,” because there really is a lot more on her site as well.)

Discount Shrubbery!

For the next 5 days, my novel set in Prohibition Boston, Swirled All the Way to the Shrub, is discounted to $2.99 for the ebook version. You can get a lot of background information on the characters and the time period Rick Wilson (my co-writer) and I put together at www.swirledshrub.com.

Buy the hundreds of copies you crave here on Amazon or here through other online retailers. And if you already bought a copy, please consider a review at the retailer of your choice—we do so crave attention (and it really can help sales).

Even Book Covers Need Facelifts

Posted on by Tom Bentley


As I have been trumpeting (excuse the noise), I released a new novel, Aftershock, this week. The book’s cover is the result of a deliberate and sustained back and forth between me and Alicia Neal, the illustrator, on all aspects of image, design, color and typography. You can read all about that process in this post on the dandy writer’s site, WriterUnboxed. The final cover took a lot of work and time, but it was worth it.

Choosing Aftershock’s cover—and finally publishing the dang thing: it only took eight years—made me revisit the cover of my first novel, All Roads Are Circles. That too was a process of give and take with the illustrator, who did approach the vision I initially had for the book’s cover, but didn’t quite get there. I take responsibility for that.

I didn’t work with her in the same way I worked with Alicia, which was to initially give her a number of model covers that exemplified aspects of design and emotional impact that intrigued me and move from there. Nor did we go over the iterations of the cover with the same amount of fine deliberation that went on between Alicia and me.

Not Quite Capturing the Fall

What I wanted in the cover was some metaphorical sense of fall and possible redemption. The novel’s final chapters are set in an apple orchard, where the protagonist has besmirched himself morally. There’s a close-to-final scene where he offers up an apple to a woman in the orchard. I wanted some resonance with Adam and Eve’s moment in the Garden, where as you recall an apple played a meaningful part.

But the imagery of what I accepted as the final cover above didn’t quite hold that feeling. However, I was impatient to get book out there (never a good idea, my writer friends) and I settled for a cover that was adequate, but not inspiring. To repeat: my fault, not that of the illustrator, whom I sure could have moved the piece forward.

Will Using Stock Images Put You in the Stocks?

Feeling good about Aftershock’s cover made me want to work again with Circles. This time, I wanted a photographic image and not an illustration. Hitchhiking is a major theme in the book, and I thought I’d have a strong image of my own from somewhere on the road. Nope. So I spent a day or so on free and paid image sites, and finally settled on the one that’s the lead image for this post.

That’s an inexpensive iStock image that allows royalty-free commercial use. The photo worked perfectly for the feeling of a forlorn hitchhiker on a lonely road. It was also large enough to wrap around for both a spine and a back cover. My galpal Alice, who has good experience with graphic design, worked it up into the cover you see. I searched for it using Google’s reverse image search to see if it appeared on any book covers, but couldn’t find evidence for that or from other searches.

On the other hand, there’s ample evidence that using a stock photo on a cover might not be a good idea. Though the image I used is free of the licensing dangers expressed here, it might indeed be on a book cover somewhere that I couldn’t find, making my book a clone of sorts. (Here’s another piece on the appropriateness of stock images that’s softer on the perils.)

Anyway, I think I’m covered. (And don’t get any ideas about using that image for your hitchhiking novel, because I will turn off the electricity at your house and you won’t be able to get any of Justin Bieber’s tweets any longer.)

Joel D Canfield: Speak Softly and Carry a Big Keyboard

Posted on by Tom Bentley

I can’t speak for the past, but at this moment, Joel wasn’t doing anything illegal with his mouth

Let’s throw open the stage (I hope he’s dressed) to Joel D Canfield, an author pal of mine who has just released his second novel in his Phil Brennan mystery series, A Still Small Voice. Joel has multiple books in multiple series, but the real multiplications are for you: he’s giving them away for free.

That’s a good bingo right there, but the kicker is that his books are good. I’ve read a number of them, and helped out with some editing on more than a few, and they are chockablock full of intrigue, whimsy, deception, suspense and high-nutrient storytelling. Grab a few and settle back (or jump up tensely when the story turns)—you’re in capable writerly hands.

Here I’ve asked Joel a few questions about his trade and where he’s going with his work:

You have written and published many business books, but in the last few years, you’ve turned your writing toward fiction. What steered that change? Did you always write stories, but are giving them their full due now?

I’ve always been a storyteller but until a few years ago never wrote any of them down. My narcissistic streak loved the attention I got from spinning a good yarn so I listened to good storytellers and stole their best ideas. When my wife’s social media business took off, I took on the household chores and stopped worrying so much about making money, which is possible with a business book, but a right challenge for fiction authors. In fact, I’ve recently started giving away every one of my novels to anyone who signs up for my newsletter, and reduced the prices at Amazon as low as they’ll allow.

You used to call your novels something like “Raymond Chandler cozies,” though I think you amended that a little. How would you describe the genre and general flavor of your fictional work?

I like putting morally rigid people in ambiguous situations, forcing the best bad choice. I used to call them Chandleresque cozies. But they’re not cozies, which carry certain implications about happiness and light. I love noir, revere Chandler and Hammett, but my books aren’t quite as dark. Like Liane Moriarty’s “Big Little Lies” and other books, mine are more about people and their struggles than about a puzzle to solve. They’re as much literary fiction as they are mystery. Since calling them “literary fiction” would be like announcing that my restaurant “serves food” I’m sticking with “mystery” as the short answer.

From your research, you are probably more familiar with story structure, story beats, character arcs and the like than many writers.  What do you look for in an editor to help with the underpinnings of a story (or provide with story mechanics)?

I don’t think it’s hard to find an editor who knows a good sentence. Harder to find one who knows a good story. I’m far more concerned about developmental editing, feedback on whether I’ve composed a ripping yarn, or just a ball thereof. Just as important is working with someone who respects my style, balancing what a reader wants to read with what I need to write.

You have several mystery series going, with distinct settings and characters. Will there be more of all? Have you considered specifically pushing the existing characters harder, challenging their stable pictures of themselves or anything on a structured, outlined level? Or do you think ahead more in broad strokes?

After an artistic crisis at the end of 2015 I spent the first 9 months of 2016 deciding whether or not to continue writing. The answer was yes, which launched a heavy rewrite of A Still, Small Voice. It also launched three months of introspection which included the kind of inner-demon-wrestling authors love to foist on their characters. I’m not all the way through, but far enough to know the light at the end of the tunnel isn’t the headlamp of an oncoming train. Having spit into the abyss when it stared back, I’m ready to ratchet up the turmoil and put each of my characters through an appropriate level of pain. They’ll thank me later.

Scotch or Bourbon? (Or for you, should I ask, Pancakes or Waffles?)

Irish. Particularly fond of Wolfhound. And waffles, please, topped with morally unambiguous toppings: butter and real maple syrup.

I can’t let Joel have the last word here, can I? The Bentley answer to that last question would be Waffles à la Wolfhound, with liberal dollops of whisky (or even whiskey) and syrup. Mmmm…