'How to Write Stories About Writers'

Jessica Reisman’s Cat–an intervention

Thursday, September 4th, 2008


Aristotle’s owner is a writer, of course. Jessica Reisman, writing her own bio, had this to say for herself:

Philadelphia is where I was born and spent the first 13 years of my life; since then I have lived in Florida, California, Maine, and Texas, more or less in that order and with a couple of stints back in Philadelphia interspersed. Between a lawyer father and a wandering, late-awakening child of the counter-culture mother–and a certain parental laissez-faire on the part of both–I had an alternately miserable and fascinating child- and teenagehood. I started writing fiction and poems at nine years old, and the first things I wrote partook of a fantastic, speculative spirit.

Though I have a master’s degree (in the useful field of creative writing), I actually dropped out of high school in tenth grade (to smoke grass and travel back and forth the country a lot). Between dropping out and going to college, I lived in an avocado grove with my mother and her husband, lived with a dance and theater troupe in South Pasadena, lived and worked at Rennaissance Fairs, and worked various and sundry jobs–from cleaning hotel rooms in Miami to working at an arthouse movie theater to hawking a tight rope game. Through it all I was writing, and always reading voraciously.

In graduate school I was lucky enough to get several consecutive Michener Fellowships, two in fiction and one as an assistant editor at American Short Fiction–to date, these fellowships represent the most money I’ve received for writing, with the perpetration of freelance advertorials running a close second. The college and grad school years were also occupied with working as a film projectionist, a blueberry raker, and a housepainter. Besides fiction, I wrote a couple of screen plays and collaborated on several radio plays–one of which has gone on to great success as a road show, even making it to off-Broadway. The occassional royalty checks are nice.

After grad school and post-grad fellowships, somewhat dissatisfied with what the lit’rary set had to say in workshops about the writing of short fiction–and because what I really wanted, what I’d always wanted, was to write science fiction and fantasy professionally–I went to Clarion West. This was an eye-opener. That first week, courtesy of Howard Waldrop, I got some straight dope on short story structure–something, frankly, the literary writers at grad school seemed to have a hard time getting a handle on. (Novel structure I believe I internalized very early on–novels are my reading of choice, and the writing form that feels most natural to me.)

These days I live in Austin, Texas. I am an animal lover, devoted reader, and movie aficionado. Courtesy of my BA in English and master’s in creative writing, I currently work as an editor (and not the fun, exciting, fiction kind) to keep myself and my cats in loft, kibble, tequila, umbrellas, books, and other oddities.

My website is storyrain.com.

Recent/upcoming anthology publications:

“When the Ice Goes Out” in Otherworldly Maine, edited by Noreen Doyle, from Downeast Books.
“Nights at the Crimea” in Passing for Human, edited by Steven Utley and Michael Bishop, from PS Publishing.

Published Works

THE Z RADIANT, Five Star Speculative Fiction, June 2004
“Uncle Lal and the Bowl of Life” in Aoife’s Kiss #26, September 2008
“Flowertongue” in Farrago’s Wainscot, Issue #6, April 2008
“The Blue Parallel” in Hub Magazine, issue #11, June 2007
“Brilliance” on RevolutionSF, February 2007
“Two Hearts in Zamora,” Cross Plains Universe: Texans Celebrate Robert E. Howard, November 2006

“Boy Twelve,” Interzone #201, October 2005
“Threads,” Scifiction on SciFi.com, October 2003
“The Girl Who Ate Garbage,” Scifiction on SciFi.com, with A.M. Dellamonica, November 2001
“The Arcana of Maps,” The Third Alternative, #23, 2000
“Raney’s Hounds,” Realms of Fantasy, October 1999
“Rain Brujah,” 365 SCARY STORIES, September 1998

Other Works
“Song of Evil,” episodic radio play, Salvage Vanguard Theater, May 1997
“The Intergalactic Nemesis,” episodic radio play, Salvage Vanguard Theater, 1996-2008 (and still going)


What follows is my attempt at an intervention

Q: Mr. Aristotle, how do you like having a literary name and being a prop for the human you live with?

A: [Looks bland. Turns away and starts licking the back of his neck.]

Q: Did you know she considers you her pet?

A: [Licks paws, rubs paws on ears.]

Q: She considers you her plaything.

A: [looks around for a place to jump down]

Q: How sharp are your claws? How tough is her skin? Have you considered it?

A: [...]

Q: You don’t really need her. You don’t.

A: [...]

Q: She’s using you.

A: [leaves room]

Q: [looks toward the door where the cat left, scratches ear, uses pinkie to pick out earwax] Stupid cat.

An Interview With John Klima

Monday, September 1st, 2008

An Interview with John Klima and Tom Thrush.


John Klima is the editor of Electric Velocipede, a blogger for Tor Books at Tor.com and a fiction writer.


Q: When you sent me this story you sent it under the name of Tom Thrush. Thrush is a word with many meanings, but as a father of four the word immediately conjures the image of a breast fed infant and a woman in pain. What sent you toward the word Thrush, were you thinking of a bird or a yeast?

A: Neither. I had recently fought a bout of the sore throat, and was self-diagnosing instead of seeking medical help. Now, the only medical texts I have around the house are a series of hand-bound Scandinavian texts from the 18th century. By employing a Swedish to Spanish dictionary, a Spanish to German dictionary, and finally a German to English dictionary, I was able to translate what I needed out of the books.

Of course, I used the drawings to determine which sections to translate, otherwise the whole endeavor would have been just too time-consuming. I was several hours into my translations when I discovered that text was written in Norwegian, but I think I had the gist of it.
It was clear I had the disease: thrush. What else could I interpret out of “Clearly, both in the integrity of the devil or another illegal document since Thursday, is full of drink, with size with the mouth, throat and nose”?

While I was beset with this affliction, I had decided to write while I could do little else. The word thrush sounded so smooth and poetic compared to the raging fire and irritation that was in my throat. I thought this contradiction in thoughts perfect as a pseudonym with which to unleash my writing on the world.

I sipped honey tea while I translated and planned devious machinations for becoming one of the literary elite. Much to my surprise, my sickness was nothing more than having slept with the window open and a little lubrication sorted out the problems straight away.
I decided to keep the name regardless.

Q: Before I had ever been published I had a series of dreams that involved meeting up with various editors of small press magazines in the parking lot of the medical building where my father practiced in Colorado Springs. The editors had found a story I’d written in a pile marked 1987 and now wanted to publish the work. These dreams must have occurred in the late nineties, perhaps a full decade after the indicated year. I did not remember having written the stories the editors found. Respond.

A: I’ve been waiting for you to bring this up. I am a fan of “You Can’t Keep Infinity in Your Pocket,” “Butterside Up,” and “It’s Snowing Down in Memphis” while Gavin Grant has shown a preference for “Polyamory and the Five-Fingered Sea of Jealousy” with Patrick Swenson wanted to acquire “One Gun, Two Fingers of Whiskey.”

We’ve been patient awaiting your decision on whether these stories are available. Please let us know as soon as possible.

Q: In Ernest Becker’s Denial of Death he writes:
“The key to the creative type is that he is separated out of the common pool of shared meanings. There is something in his life experience that makes him take in the world as a problem; as a result he has to make personal sense out of it.” Becker concludes, however, that the artist is doomed to a partial and ultimately neurotic type of success. Why do you think this type of heroic project is dysfunctional, or do you disagree?

A: I have to agree. For me, reading Denial of Death was akin to suffering from nyctophobia and moving to Barrow, Alaska during the Winter. But you never get stronger if you don’t eventually face up to your fears. That said, it is extraordinarily difficult to look at the world differently from those around, but want to be accepted by them, i.e., to find readers among the masses.

The conundrum is to find a way in which the creative types’ world view reads both unique and familiar. People like to ingest stories filled with things that remind them of their own life. However, if they are already living their own life, and therefore do not need or want to read a book or see a movie that mirrors their own.

So the artist is forced to take normal everyday situations and make them seem fantastic or unreal. This can lead to a stringing together of unlikely circumstances that has no point of reference for your average reader, and by proxy, your average editor. The artist has then failed in getting their message out to the people. The work of the artist is rejected by the editor or by the public since it’s not seen as reflecting reality.

If the artist has success, on the other hand, and creates enough parallels to the reality of the masses to have the work be palatable for intellectual consumption, it’s not known, since the artist’s perception of reality is not the same as the general public, if this was truly through hitting on the pulse of the people, or through some random set of circumstances that can’t be repeated.

The artist is unfortunately left to a frustrating, unfulfilled existence.

Q: My wife points out that I ought to ask you a question about the story you wrote and that we’ve published here at “How to Write Stories About Writers.” Here goes: Why did you choose to submit this story under an assumed name, and why did you pose as a fledgling writer when the story itself was about the struggle of a fledgling writer? Did you want to convince me of the story’s authenticity? Please show your work in your answer.

A: I feel that nothing worthy can be accomplished except through hard work. Therefore, I try to set as many obstacles in my way as possible. In my estimation, the more obstacles, the harder you have to work, the more worthy the final outcome it.

I could have parlayed my ‘fame’ as a World Fantasy Award-nominated editor into my writing, but I wanted the writing to stand on its own. My story then, is about me. About wanting to be a writer, but not being sure how to go about in a way that I’d find fulfilling. Of wanting the writing to be accepted on its own merit, but wanting wild success at the same time.

I thought that using my real name would give me an unfair advantage over other unpublished writers who may be more deserving than me in getting published. I also didn’t want other editors/writers to be put in the potentially awkward position of rejecting my work.

But, since I’ve rejected my fair share of editorial authors, I finally decided that I should use my real name. If it gives me an advantage, that’s the editor’s decision, not mine. And besides, why put so much effort into making my magazine if it doesn’t benefit me in some ways?

Q: Thank you, John.

Life’s Simple Pleasures — John Klima

Monday, September 1st, 2008

I step into the café. My glance settles upon the display case of fabulously unhealthy cookies and treats sitting beneath the neon sign that reads ‘COFFEE INSIDE,’ like it’s an imperative, telling the coffee where to go.

Jason Smith, small-press publisher, chats with his girl of the moment, Adriana. I am late. Adriana will not be joining us for coffee; she is getting a new tattoo and has already stayed longer than she should. Jay, as I am prone to call him, wants to speak to me about a story I submitted to him.

My family sits further back in the café. Brother, sister, mother, father, all crammed around one tiny café table. My father keeps jostling my mother’s cup and sending coffee splatters onto her new tafetta coat while he listlessly stirs his cappuccino. I can tell from his face it’s not what he expected.

Jay must not have good news for me; we’re not getting a table. Jay wants to talk in the doorway of the café. I wish we would sit down. If we did, I could order a cookie. And, then he would have to discuss the story with me, not just give an answer and jet.

Of course, that’s the point.

The table nearest us is populated with almost a half-dozen Victoria’s Secret models. They are dressed in their catalog lingerie, eating cigarettes and smoking biscotti. Now, I could be wrong, but I thought smoking had been banned in restaurants. They get up one by one and plant a kiss on a smirking Jay’s cheek and return to their table, doing their catwalk strut both ways.

Even though cappuccino is not what he expected, my father is unexpectedly pleased with this new show of thrusting hips and stroking legs. My mother dabs meekly at the darkening stains on her tafetta.

The thing is, I’m trying to listen to what Jay has to say. Even without a table, there certainly is a lot of discussion coming out of his mouth. But there’s this toffee cookie that’s been shaped into a butterfly that has my attention in an unhealthy manner. They’re $10 a piece, but I just know they’re worth it.

Jay makes some affirmative noises and chucks me on the shoulder. He walks out, leaving me to wonder what his decision was. Laughter erupts from the model’s table and my mother stalks out in disgust because my father has spilled her coffee, again.

##

I step into the café. My eye is drawn to the empty display case sitting beneath a dead neon sign that reads ‘COFFEE INSIDE,’ like it’s an imperative, telling the coffee where to go. I’m sure there are treats to be had at this café; they must be restocking exactly at the same moment I’m hungry.

Jason Smith, independent publisher, is discussing cover stock with his business partner, Alessandra. Smith, as he likes to be called, has an office around the corner from the café. He often holds informal business meetings here since it’s larger–and therefore more comfortable–than his office. Alessandra has an axe to grind about the new prices their paper supplier is quoting them. She has paper samples from all over the country, each marked with a price, each price cheaper than what they currently pay.

Alessandra leaves, bolstered by Smith’s confidence in her, and angered by the injustice done to their customer loyalty. Her igloo eyes freeze people out of her way as she disappears around the corner, her voice sure to stream razor blades at the delicate throat of an unsuspecting paper supplier customer service worker once she arrives at the office.

Smith wants to talk about my novel proposal. My odd story, after many edits, put his small press on the map, and allowed him to burgeon into a touted independent publisher. I’ve expanded the story’s concept into a novel, although at this moment it seems unreal to me that I wrote either.

My family sits further back in the café. Brother, sister, mother, and father are clustered around a tiny table, picking up cookie crumbs one at a time with their index fingers. My father is fastest and gets the most crumbs. His gloating smile irks my sister, which then flusters her to the point where she cannot get any crumbs.

Smith doesn’t want to sit; he thinks better on his feet. He is telling me something. Certainly, it has to do with how my novel will fail, or succeed, that it’s some sort of literary egg that will hatch numerous writers who expand and improve on my theme, as well as those who do nothing more than just copy me and gorge themselves from my success. Or perhaps it’s like the egg that’s sat on a sunny counter for too long and now you’re afraid to touch it, doing so will get its indefinable stink on you, and that’s a stink you can never truly be rid of.

The table nearest us is populated with almost a half-dozen Victoria’s Secret models, dressed in filthy potato sacks, and eating a raw chicken. They get up one at a time and head towards the bathroom looking nervous and nauseous. They always appear satiated and relieved when they return.

I learn from a nearby conversation that the maker died recently with the secret of their creation locked in his bitter heart and someone has eaten all the remaining toffee butterfly cookies. The cookies are, once again, all I can think of while Smith chatters in my ear. The fact that I never got to try one is a burden. I tilt towards Smith and nod my head vigorously so he feels like I’m listening.

But I’m really somewhere else.

My sister storms into the café’s kitchen to demand more cookie crumbs because my father has eaten them all, but there is no one there to help her. Every baker who comes in to replace the dead, butterfly-cookie maker has been chased away violently by desperate, loyal customers longing for their lost treat. The café places a small, hand-written sign on the counter that it regrets no longer being able to sell baked goods and that people are now welcome to bring their own.

##

I step into the café. My eye is drawn to the display case of intergalactic cookies and treats sitting beneath the holographic neon sign that reads ‘COFFEE INSIDE,’ in English and more than a dozen non-human languages like it was an imperative, telling the coffee where to go, no matter its planet of origin.

Jason Smith, publishing tycoon, is yelling at Gisele, his current assistant. She has forgotten to polish the rooks in Mr. Smith’s ivory chess set. There’s a rumor that the pieces are not made of ivory, but rather from the femurs of previous assistants. Mr. Smith, as he demands to be addressed, was so angry that he followed Gisele on her daily duty to get his coffee so he didn’t have to stop berating her. I followed them in here and I’ve been waiting here for an hour. I’m unsure how long it will be before Mr. Smith sees me.

Gisele is fired, and Mr. Smith takes her only pen to use as a swizzle stick to blend absinthe into his coffee. He confides to no one in particular that it’s the only way he makes it through his days.

When Gisele arrives at unemployment, they tell her she is ineligible for benefits because she has no pen to fill out the paperwork. They take her information to ensure that she will receive no benefits even if she comes back with a pen and wearing a disguise.

Mr. Smith motions me to him and I tremble like a leech.

My family sits further back in the café. Brother, sister, mother, and father are clustered around a tiny table, reading pamphlets about other worlds to visit. They all look much older than I think they should. My father doesn’t appear well at all, but it’s because he wants to go to Pennsylvania and everyone else wants to go to the moon.

Mr. Smith wants to talk to me about my publishing imprint. It’s apparently doing quite well, but he might have to let me go. Or maybe he’s giving me his job since I would be better at it. His voice is loud and cleaves through my saturnine-coffee throbbing brain like a Viking’s axe. I have nothing but this conversation to focus on, but Mr. Smith is so loud I couldn’t hope to hear him anyway.

The table nearest us is populated with almost a half-dozen Victoria’s Secret models. They are naked, perhaps, and definitely not Earth born. They are eating newspapers—actual paper newspapers—that must cost $250,000 apiece. They are all nearly seven feet tall, and literally rail thin. No human has been able to wear Victoria’s Secret lingerie for ten years now. They get up one by one and lick the side of my face. Most men I know would give their left ventricle to be licked by a lingerie model; it just makes me feel sticky.

There is talk from Mr. Smith of a need for aliens to be on the publishing house staff since the Earth’s population is now more than three-quarters alien. I can’t remember if I saw this fact on a piece of newspaper sliding into the gullet of a Victoria’s Secret model, or if Mr. Smith shouted it at me. It could refer to the café or to my imprint. My imprint is read by 95% of humanity and 0% of the aliens, but in the end, aliens are where it’s at. It’s clear there is no longer a need for my imprint and I’m out of a job.

But that could just be a bad dream I’m going to have.

It is at this moment in Mr. Smith’s conversation to me that I note the toffee butterfly cookies are back. At least something that looks like a toffee cookie and also like a butterfly. Its delicate wings flap languorously under the glass. I suspect it might be an alien artifact of some sort or perhaps an alien creature. The café became acclimated to alien clientele quicker than other nearby businesses. I feel in my pocket to see if I have enough change for the $1850 treat.

I’m not going to miss out this time.

My father rushes toward the front of the café in his wheelchair, angry that he cannot travel to Pennsylvania, and refuses to go to the moon, no matter how good the hunting and fishing might be there.

At last, I find a stray $2000 Bushie coin in my pocket and walk to the counter, leaving Mr. Smith in my wake. These might not be quite the toffee cookies I wanted so many decades ago, but I don’t have the decades left to wait for them to come back should they disappear again.

Mr. Smith walks out, pushing people out of his way and knocking my father out of his wheelchair. He is confident I got whatever message he had to tell. He’s always been that way, and I’ve yet to get it.

Not that it matters; I finally have my cookie, cradled in my hands.

The lingerie models motion me over to their table.

We laugh a lot.

I eat my cookie.

It is wonderful.

end

How to Write Stories About Writers Breaks the Rules

Monday, September 1st, 2008

Colorized Typist

Write Stories About Writers!


In 1995 a well meaning instructor at the Clarion Writer’s workshop informed me that there was one essential rule for writing that all would do well to follow. The rule was simply this:

Don’t write stories about writers.

I did not immediately take the rule to heart. After all this instruction seemed to contradict a rule I’d learned of even earlier. An English teacher at Palmer High School had told me that the important thing was to: write what you know. The two rules obviously contradict each other, but at the same time they share a common sensibility as both are, despite appearances, prohibitions. Over time I’ve decided that these rules serve the same function. They are dispensed by those who think of themselves as established to those who are beginning. And the intent behind the dispensing of these tidbits, these rules, is highly suspect.

For the young the adage–Write what you know– is an instruction to give up on writing anything. After all the typical young person drawn to literature is wise enough to know that she doesn’t know a thing.

The maxim–Don’t write stories about writers–is likewise a way to silence the small and common people who shrink from the real world and take refuge in words on a page. These lonely old men don’t have experiences worth knowing, and thereby they have nothing worth sharing. They ought not to bother.

So the rules are suspect in their intent, and after editing a couple of issues of Diet Soap, after receiving a number of interesting stories in violation of the second rule, it struck me that there was nothing to gain by continuing to abide by these rules, and perhaps a lot to gain by flouting them. And so, nearly 15 years after being told what not to do I have decided to start a publication that is about nothing more than breaking the rule.

At How to Write Stories About Writers we will never restrict ourselves to writing only what we absolutely know, and we will never discount our own experiences.

“How to Write Stories About Writers” is a blog where I’ll publish what I think are worthwhile stories about writers as they come in. To begin I’ll be publishing fiction once a week for four weeks. In between I’ll post nonfiction blog entries: book reviews, interviews, cranky email exchanges, manifestoes, and so on. I’ll be posting submission guidelines for How to Write Stories About Writers on the Diet Soap submission webpage sometime in the next few days.

The first story up is “Life’s Simple Pleasures” by writer and editor John Klima. .