Sunday, December 19, 2010
This was an Interview I did a while back, so I thought I'd post it here at the Den ...
Courtesy of, and Thanks to, Natasha Hollerup for Interviewing me, couldn't have been easy!
Hello and welcome to a new installment of “What’s Your Story?” The subject interviewed in this installment is David Hunter, who is a musician and a writer, as well as a blogger of news and writing advice. So, please give your attention, applause and goodwill to Mr. Hunter.
***
Can you tell everyone your name and location?
-I am David Hunter, and I dwell in Toronto, Ontario, Canada.
Okay, David, here is a set of simple questions to begin with:
When and where were you born?
-I was born in Toronto on October 19th, 1971. Wow, that date is starting to sound ancient! I was raised there as well.
What are your hobbies?
-Photography is a big passion of mine; and playing my guitar (A 1978 Les Paul Gold Top! Got it when I was 16 and I still have it…) And of course reading books, if that qualifies as a hobby. I’d say writing, but that’s not a hobby, it’s my obsession, my life!
How long have you had these hobbies?
-I think I was born with my hobbies! Although I started playing guitar rather late in life, at age 15, I excelled at it quickly.
What is your favorite part about this hobby?
-That I was good! Within a few weeks I joined a band at school. People look at you different when you can play a guitar! I enjoyed that look.
What kind (s) of music do you like (bands, singers, genres)?
-How much time you got? There are so many; Rock, jazz, folk, you name it. If it sounds good, it is good. I do hold a special place in my heart for the Beatles. As Jazz goes, Joe Henderson is my favorite. And Vince Guaraldi. And Dave Brubeck! (See? I need more time…)
Who is your favorite author? Why?
-No one could turn a phrase as well as Edward Abbey, even though the man himself was a bit of a wing-nut. I picked up a copy of The Monkey Wrench Gang when I was 12 and I never put it down. I still have that copy! His writing influenced me the most. He was a curmudgeon and a desert anarchist who burned billboards because they were an affront to the landscape, but boy could he write some beautiful stuff!
What was the most recent book you’ve read?
-Blood Work, by Michael Connelly.
What were your thoughts on it?
-It was good; a page turner. But the movie was better, I thought. It’s one of those books that I forget soon after I’ve read it. How terrible is that?
What are you currently reading for enjoyment?
-I’m currently re-reading an old YA (young adult) book that I’ve had since high school; the Pigman, by Paul Zindel. It’s one of my all-time favorites.
What place do you/have you want (ed) to visit or live in? Why?
-I think I’d like to bum around Europe. It seems very artsy and writerly; and it always impresses people when you say you’ve been places like Paris or Rome! Also, I could use some worldliness. I’m not very worldly.
What do you want to be when you grow up?
-Who wants to grow up?
Here are some more personal questions:
What three people are most important to you?
-Carl Sagan, Chuck Jones, and my mom and my sister. Not in that particular order, either.
Could you describe them and your relationship to them?
-My mom is the last parent I have, so that’s self explanatory. She really belongs in the mom Hall of Fame.
Can you describe your most recent mistake or failure?
-I should have taken writing in college instead of art; big mistake. Here I was with all this writing ability and I was still clinging to my artistic dreams. It was a hard lesson, learning that you’re not going to be successful at something you love, and I loved to draw, but it wasn’t my real destiny; writing was. Thank the gods for writing; it saved me.
Can you describe your most recent victory?
-I consider all my new friends on Twitter a victory for me. My dream was to be a part of a creative community and I accomplished that in the past year; they sustain me; they inspire me!
What do you do for a living?
-I work in a Food Container plant; in the mornings I do maintenance, in the afternoons I work in the Graphics department.
Tell me about how you got into your line of work.
-I had experience as a superintendent, so I applied for this job. It’s your standard 9 to 5 job, and it’s very similar to being a super. I needed money, and my only skills include writing and being creative, things we know are hard to make money at. The Graphics part came about because I asked them to train me. I wanted to move up in the company.
Do you like your job?
-It’s a job, that’s all; nothing special. I guess that means no!
If you could do anything now, what would you do? Why?
I would love to be writing for the local media, become a part of the writing culture here in Toronto. Nothing says success like having your friends read your stuff in the local paper.
What do you hope to accomplish in 2010?
-What does any self-respecting writer want to accomplish? A finished manuscript, a book deal, and to move to California. Me and California, we are meant for each other!
How do you think you’ll accomplish this/these goal (s)?
-By working my ass off. I know of no other way.
What genre of writing do you want to write in?
-I love crime fiction, but I also love Sci-fi, (although my lack of scientific knowledge may prevent this…) and comedy; but I’m mostly mainstream. I love many genres, so I hope I don’t get pigeon-holed into only one genre.
Why do you gravitate towards this particular type of writing?
-Under the Mainstream banner I can write anything, and I won’t get trapped in any one genre. I like to be free in what I write.
Do you have any works in progress?
-I have a story called Rockfish, set in the 1960’s.
Can you give a brief summary about it?
-It’s about a kid named Everett Winsom who is dealing with his messed up family…and the fact that he has a bad leg that makes him limp, makes him the butt of jokes at school. He has a mentally challenged brother and an alcoholic mother…
When do you plan to become published?
-As soon as humanly possible! But seriously, it’s a long process. These things take time. Like any optimistic writer, I plan to get published within the year, which is wishful thinking at best.
If you become a published author, would you quit the job you have now to primarily write?
-A resounding “hell yeah” would be the appropriate response.
What do you like the most about writing? What do you like the least?
-I like the creativity of it; creating my own characters, my own worlds, where I can explore things. Plus, let’s face it, writers like to write because they can be in charge of these little places in their minds; petty tyrants lording it over imaginary people. That’s the real reason people write, isn’t it? What I hate is the doubt; it can be debilitating.
What do you want to be doing in five years?
-Writing for a living; traveling the world; hopefully engaged with love and life.
List five adjectives that describe yourself.
-Stubborn, sensitive, creative, easy-going and hungry (Hungry being a metaphor for motivated)
How would you like to be remembered?
-Through my writing. I hope students will be reading and discussing my work a hundred years from now, and I hope they say, “He was pretty cool”.
Can you name three to five things you want to do before you die?
-Meet the perfect girl, fall in love, have children, become a published writer, and bowl a 300 game.
***
Wednesday, December 8, 2010
Words are flowing out like endless rain into a paper cup,
They slither while they pass, they slip away across the universe
Pools of sorrow, waves of joy are drifting through my open mind,
Possessing and caressing me.
Jai guru de va om
Nothing's gonna change my world,
Nothing's gonna change my world.
Images of broken light which dance before me like a million eyes,
That call me on and on across the universe,
Thoughts meander like a restless wind inside a letter box they
Tumble blindly as they make their way
Across the universe
Jai guru de va om
Nothing's gonna change my world,
Nothing's gonna change my world.
Sounds of laughter shades of earth are ringing
Through my open views inviting and inciting me
Limitless undying love which shines around me like a
Million suns, it calls me on and on
Across the universe
Jai guru de va om
Nothing's gonna change my world,
Nothing's gonna change my world.
Thursday, November 11, 2010
(A Soldier Died Today)
He was getting old and paunchy and his hair was falling fast,
And he sat around the Legion, telling stories of the past.
Of a war that he had fought in and the deeds that he had done,
In his exploits with his buddies; they were heroes, every one.
And tho' sometimes, to his neighbors, his tales became a joke,
All his Legion buddies listened, for they knew whereof he spoke.
But we'll hear his tales no longer for old Bill has passed away,
And the world's a little poorer, for a soldier died today.
He will not be mourned by many, just his children and his wife,
For he lived an ordinary and quite uneventful life.
Held a job and raised a family, quietly going his own way,
And the world won't note his passing, though a soldier died today.
When politicians leave this earth, their bodies lie in state,
While thousands note their passing and proclaim that they were great.
Papers tell their whole life stories, from the time that they were young,
But the passing of a soldier goes unnoticed and unsung.
Is the greatest contribution to the welfare of our land
A guy who breaks his promises and cons his fellow man?
Or the ordinary fellow who, in times of war and strife,
Goes off to serve his Country and offers up his life?
A politician's stipend and the style in which he lives
Are sometimes disproportionate to the service that he gives.
While the ordinary soldier, who offered up his all,
Is paid off with a medal and perhaps, a pension small.
It's so easy to forget them for it was so long ago,
That the old Bills of our Country went to battle, but we know
It was not the politicians, with their compromise and ploys,
Who won for us the freedom that our Country now enjoys.
Should you find yourself in danger, with your enemies at hand,
Would you want a politician with his ever-shifting stand?
Or would you prefer a soldier, who has sworn to defend
His home, his kin and Country and would fight until the end?
He was just a common soldier and his ranks are growing thin,
But his presence should remind us we may need his like again.
For when countries are in conflict, then we find the soldier's part
Is to clean up all the troubles that the politicians start.
If we cannot do him honor while he's here to hear the praise,
Then at least let's give him homage at the ending of his days.
Perhaps just a simple headline in a paper that would say,
Our Country is in mourning, for a soldier died today.
© 1987 A. Lawrence Vaincourt
Tuesday, November 9, 2010
I love words as much as the next person, but some of them are just plain ridiculous and have no place in the English language (except in ridiculous blog posts like this one) and they also sound rather strange when uttered during casual conversation. They're also fun ... so without further ado, I give you the first edition of the Dictionary of Stupid Words (all entries are listed non-alphabetically for your inconvenience)
for•sook (-s k ), 1. To give up (something formerly held dear); renounce: forsook liquor.
2. To leave altogether; abandon: forsook Hollywood and returned to the legitimate stage.
Abibliophobia
The fear of running out of reading material
Bewigged
Wearing a wig.
Osculate
To kiss, To come together.
Persnickety
Snobbish: Pretentious.
Refusenik
A soviet citizen denied the right to emigrate.
Scaramouch
Depicted as a boastful coward or buffoon.
Xiphoid
Shaped like a sword.
Yeoman
An attendant, a servant, or a lesser official in a royal or noble household.
Zyzzyva
Any of various tropical American weevils of the genus Zyzzyva, often destructive to plants.
om·buds·man (mbdzmn, -bdz-, -bdz-)
n.
1. A man who investigates complaints and mediates fair settlements, especially between aggrieved parties such as consumers or students and an institution or organization.
mammothrept - a child brought up by its grandmother; a spoiled child
footle - act foolishly, as by talking nonsense
Pneumonoultramicroscopicsilicovolcanokoniosis - exposure to volcanic dust.
Absquatulate ~ To leave or abscond with something.
Bloviate ~ To speak pompously or brag
Brouhaha ~ An uproar
Callipygian ~ Having an attractive rear end or nice buns
Discombobulate ~ To confuse
Fartlek ~ An athletic training regime
Gardyloo! ~ A warning shouted before throwing water from above
Sialoquent ~ Spitting while speaking
Snollygoster ~ A person who can't be trusted
Hemidemisemiquaver ~ A musical timing of 1/64
Slangwhanger ~ A loud abusive speaker or obnoxious writer.
Fatuous ~ Unconsciously foolish.
Eructation ~ A burp, belch.
vomitory ~ a passageway leading to a tier of seats in a theater, (especially a Roman amphitheater), or a stadium.
Tittynope ~ refers to a small quantity of anything left over be it a measly morsel of gristle remaining on a dinner plate, or the dregs of draft beer left nestled behind in the bottom of a tankard at a tailgate party.
Silly Etymological Artifacts
• There is no egg in eggplant, nor ham in hamburger.
• Have you noticed that there is neither apple nor pine in pineapple.
• English muffins weren't invented in England.
• French fries do not originate in France.
• A guinea pig is neither from Guinea nor is it a pig.
• And there are no hogs in Hogmanay.
• And why is it that writers write but fingers don't fing, grocers don't groce and hammers don't ham?
• You cannot buy boots in Boots nor virgins in Virgin. You cannot buy threshers in Threshers and the Superdrug chain is a big disappointment.
• Quicksand only works slowly
• If the plural of tooth is teeth, why isn't the plural of booth beeth?
• One goose, 2 geese. So one moose, 2 meese?
• If teachers taught, why didn't preachers praught?
• If a vegetarian eats vegetables, what does a humanitarian eat?
• A pregnant goldfish is called a twit.
More Wordy Stuff
1. Barking: Thought to be named after the London suburb, home to a former asylum site; hence 'Barking mad'.
2. Binge: A bout of uncontrolled indulgence.
3. Blighty: A word much loved by RAF types in WW2. Originally from the Hindi word "bilayati" meaning foreign.
4. Blimey: Could be shorthand for "God, blind me."
5. Chum: A "chummy" used to be a chimney sweep’s assistant.
6. Cuppa: First used for tea by PG Wodehouse, the playwright.
7. Dear: From an old English word, "deore", meaning "much loved."
8. Grotty: Sixties Liverpool slang.
9. Jolly: From an old French word meaning "festive".
10. Slag: Derived from a 16th century German word meaning "dross".
More Stupid Words, for your reading pleasure
Flink
A group of twelve or more cows
Dipthong
According to Merriam-Webster, "a gliding monosyllabic speech sound".
Occiput
Pronounced "awk si put", it's a word for the back of the skull
Effluvium
A disagreeable smell.
Indubitably
So evident it can't be doubted.
Sardoodledom
Another word for "staginess" or "melodrama".
Cahoots
Partnership; comradeship.
Scootch
To move a short distance. In a sentence, "The inchworm scootched across the branch."
Foofaraw
To make a big deal out of something of little importance. Also means to add flashy or excessive decoration.
Friderday
When you start partying on Friday and it lasts well into lunchtime on Saturday.
Whelming
Adjective used to describe something neither overwhelming nor underwhelming. In other words, something that's just right.
Bovicide
To kill a cow.
Ort
A morsel left after a meal.
Gruntled
To be in a good mood and the opposite of disgruntled.
Sunday, November 7, 2010
This is an excerpt from my NaNo project called '500 Mondays'. It's largely unedited and raw, but I hope you enjoy it. Let me know what you think. -- David
"...Alcohol and Irish don’t mix, I’m told, but today I didn’t give a rat’s ass. There was something heavy coming down ..."
It was a nice day for a funeral.
The sky was slate gray and it was spitting rain and I was sitting in my best friend’s car, not wanting to get out and deal with anything. I had just come from my step-father’s funeral, and I had no feeling about it. Everyone else was crying and mourning, but I had no emotion in me. I felt nothing. Well, that's not entirely true; I felt flat and depressed, which is as good as nothing.
Bobby finally prompted me. A little.
“Do you want me to come in with you?” he said. I knew he only said it to be the obligatory ‘best friend’ and I loved him for it. Plus, he probably wanted to get at the buffet.
“Naw man. I can deal. Besides, you have to get back to Westchester.”
“You sure?”
"Yeah. You don’t wanna be around a bunch of blubbering family members. It’s kind of depressing.”
“Alright. If you need me, just call.”
I got out of the car, and watched Bobby pilot his BMW out of the forest of black rain-slicked limos that were piled in front of the estate, all filled with relatives, friends, business associates, big-wigs, and wealthy philanthropists all coming in to pay their respects (and probably to glad-hand and photo-op and get face time with each other, the bastards) to one of the most influential financiers in the state of New York, my step-father Nicolas Castle.
This was gonna be a long day.
* * *
I was trying to remain inconspicuous over by the buffet table, nibbling on capers and brie, but the parade of condolence givers was unrelenting. They all seemed nice enough, and some of them I knew, but really, this wasn’t my world. My heart was still stuck in Boston, where I grew up before my mother abandoned me at age 9. Sad story? Yeah, but, what can you do?
I saw Celia, my step-sis, and I felt a wave of relief. She came over and took my hand. Her eyes were all red, like she’d been crying for three days. She was just about my age, 18, while Charles, Cauldon and Alexa were a few years older.
“Oh, Danny …”
She started crying again. All I could do was squeeze her hand.
The aforementioned Cauldon appeared. He was the eldest Castle kid at age 24, and probably the new richest guy in the State. He glared at me, drink in hand.
“We need to talk later. So don’t pull any disappearing acts.” He said in a harsh whisper as if anyone was listening anyway.
“And you,” he said, addressing Celia, “pull yourself together. You’re embarrassing me.”
Me and Celia watch him walk away and join a group of people nearby; they each extended their hands in condolence and Caul put on his best fake grin, with just a hint of sadness in it. He was a master.
Celia and I retreated to another section of the house, free from the phony grins and the weeping family members (not including the immediate Castle clan; Caul had instructed them to remain stoic, as If they were the Royal Family or something) so we could talk. I hadn’t seen her in months. I was off at Westchester College and she had gone to Yale in Connecticut.
I wanted to tell her I was in love with her, but considering the circumstances, it wasn’t a good idea. Plus she was my step-sister.
Instead I pulled out a cigarette and shoved it in my lips, unlit.
She laughed in a kind of sad way.
“Something on my face?” I said.
“No. It’s just … I missed you. And the silly way you smoke, or don’t smoke.”
“Caul certainly didn’t miss me.” I said, sitting back on the sofa. It was rather warm in the place, plus I had on a Burberry overcoat, my late step-father’s, actually. He'd never miss it.
“Caul doesn’t miss anyone. Neither does Charles or Alexa,” she said, sipping her wine tenderly. She was holding the glass between her long fingers, like she was holding on for dear life. I found myself staring at her white nail polish - which brushed the ends of her pink fingers - and I went into a thousand-mile stare.
“I mean is it too much to ask for a little warmth around here, Daniel?” She said, placing a hand on my leg, looking me straight in the eyes. I could see she had ingested a few drinks, and who knows, Valium even. But the girl was entitled; she’d lost both her parents now and her remaining kin had all the warmth of a pile of cinder blocks.
“Where is old Charles, anyway?” I asked.
“Oh, he’s probably taking inventory of the house, making notes on what he’ll want from the estate. Classy …” she said, waving her hand, gesturing around the room.
I heard Alexa calling from away over at the doorway, breaking my trance.
“Celia! I need you. Stop sequestering yourself,” she said. She never acknowledged my presence. She just stood at that doorway glaring at Celia.
“I have to go, but we’ll talk later, okay?” said Celia. She reached over and kissed my cheek before going off with Alexa, who never bothered to look back at me.
Welcome home, Danny Bloom.
* * *
The Castle Estate was built in 1922 by Jed Castle, who was a robber baron. He was one of the original Industrial Revolutionists, and from what I’ve read a real cold son of a bitch. Walking down the hallway towards the east wing of the house, I casually studied all the family portraits; they went back a long way. The earliest was a painting of John-Smith Castle, killed in the war of 1812. He was a grim looking bastard. The whole hall was filled with these portraits of dead guys. It was fucking depressing, I tell you, but standing there in my gangly 18 year old body, unlit cigarette in mouth, and overcoat hanging, I felt like I was somehow cut from a different cloth then the great Castles of war and Industrial Revolution. I was a simple Irish kid from Boston, adopted by a kind wealthy lady, against the wishes of her family, although I don’t know what motivated the late Emily Castle to drive down to Boston to adopt a trouble-making kid from Southie in the first place, I really don’t. I missed her; she was a good woman. And may he rest in peace, but the late Nicolas Castle didn’t deserve her. But that's just my opinion.
* * *
I found myself in the old man’s den, somehow.
The place was dense with books, volumes of law texts, great big tomes of Shakespeare, everything. There was a large oak desk, where he died apparently, bent over his work. Most people would want to die with their family by their side, but not old Nick; he went the way he wanted, at his desk poring over documents, business deals, investments, whatever. 55 years old, you fucking believe that? Died alone.
“You old bastard” I muttered. My head was swimming because I had hardly ever been allowed to roam free in the house, much less wander through the old man’s private office. Behind the desk, I sat in the big old leather chair. The thing was ancient; it creaked like a bitch when I put my weight in it. Isn’t that funny? The man was almost a billionaire but he was too cheap to get himself a new chair. Did it have sentimental value? Fuck knows. Getting brave - for, who was going to burst in and stop me, the ghost of Christmas past? – I opened the top drawer of the desk. What I saw inside just took my breath away. I suppose not everything was a loss, really. I supposed that If I was going to be tossed on the street I may as well have a memento of my time with one of the richest families in New York State. They wouldn’t miss it, would they? I just hoped God wouldn't strike me down for stealing from a dead man.
Back at the reception area, I ambled over to the buffet table again hoping Celia would reappear. No such luck, instead I got Caul.
“The guests will be leaving soon, and I want you to stay put. We need to discuss some things.” he said tersely before wandering off again. An hour later everyone was gone, stuffed into their limos and making their way home, or wherever it was they were going, through the rainy October evening. I sat down on the large couch, cradling a brandy. Alcohol and Irish don’t mix, I’m told, but today I didn’t give a rat’s ass. There was something heavy coming down.
After Caul and Alexa saw the last of the mourners out, Alexa disappeared. Caul came straight over and sat down opposite me. He too had a drink in his hand.
There were a few moments of awkward silence as Caul was forming his words, I guess. He was looking into his glass, turning it with his fingers. I got the feeling that this would be bad.
“Now that my father is dead, our obligation to you as a ward of the state is fulfilled,” he began, “You are no longer considered a Castle as far as I’m concerned, or was ever concerned.”
“Can I have that in writing so you don’t retract that statement at a later date?”
“Always in jest, aren’t you Daniel? You were never a real Castle anyway.”
“You mean, because I’m not made of stone?”
“Joke if you will, but I want you out of the mansion as soon as possible.” He never said it in a mean way, just matter-of-factly.
“Where would I go?” I said in my best sarcastic voice.
“Not concerned. We’ll provide you with a small … stipend, to tide you over.”
“For all my years of faithful service you mean?”
“You’re not my brother, I owe you nothing. I’m offering you a fair deal.”
“Well, Thank you counselor.”
Breaking his façade of detachedness, Caul leaned forward and looked at me intently. I thought he was going to grab my neck and throttle me. “I don’t like you, I’ve never liked you. You mean only one thing to me, a percentage of inheritance that you don’t deserve. So the sooner you leave the better.”
“Well, What about my percentage then, of the inheritance? It’s possible Mister Castle cut me in, isn’t it?”
“It’s possible, but highly unlikely to be a significant amount, given that you were a ward of the state.”
He said it like I was a dog picked up from the pound or something.
Alexa walked in. She had a glass of something, Port maybe, hanging from her fingers, and she glided past us.
“Oh Caul, leave the boy alone. Stop being so uppity.”
“Keep out of this, Alexa.”
I sighed and pulled out a cigarette. I usually only keep one in my mouth for a few minutes before I toss it; they tend to get wet and soggy.
“You can’t smoke in here.” Said Caul.
He said this knowing I’d never actually lit a cigarette in my life, except when I was at St. Sebastian’s Children’s Home, and that was a long time ago. 500 Mondays ago, really. This wasn’t about the cigarette; he was projecting his anger at me. There was something else about me that he resented and for the life of me I couldn’t figure it out.
It was as If all of Caul’s energy had drained, because he just got up and waved a hand at me.
“Just – be gone by morning. If you stand to inherit something our lawyers will track you down.”
And that was that.
I went up to Celia’s room, to say goodbye. She had drunk herself into a fitful sleep. I couldn’t rouse her, except for a few mumbles. I kissed her on the cheek and said goodbye.
It was still drizzling a little when I stepped outside; it was a bloody miserable evening. I made my way over to the car port where the old man had his collection of classic automobiles. I just got thrown out again, I thought. Was it me? was it them? Why did nobody want me?
I tried a few of the keys on my ring, and one of them opened the little door on the side of the car port. It was dark and gloomy in there, so I turned on the overhead light and wandered around, looking at all the cars, wondering where I was gonna go. My only option was to go back to the dorm at Westchester, really, but I felt frozen in place, like I just got kicked in the stomach. I was an orphan all over again.
I saw what I had come for.
There, at the end of the row, near the key cabinet, was the old man’s favorite car; a ratty old 69 Porsche. It was my favorite too. In fact, Mister Castle used to take me out in it, when he was drunk, and try to teach me how to drive stick shift. He used to wake me up in the middle of the night, the old bastard, and he used to make me drive him around the estate, and once or twice out onto the streets of Westchester County. I had no license, but who was I to argue about it? Sometimes the old bastard would reveal his secret philosophies on life to me - he called them Castles Laws – and then he’d fall asleep in the passenger seat a lot of the time.
“Never show your true feelings.” He’d mumble. “That’s rule number one. Feelings equal weakness, remember that.” Then he’d doze off. I couldn’t move him; he outweighed me by a good 90 pounds or so. I’d usually fetch a blanket from the house for him, cover him up.
Those were the only times I ever felt an affinity for the old bastard. He was as lonely in this world as I was.
* * *
I guess I had been lost in my reverie, running my hand on the fender of that Porsche, because I didn’t see Charles standing there; he must have followed me to the car port. He scared the hell out of me.
“Nice ride, dad’s favorite. Too bad you won’t ever get to drive it, eh sporto?” he said, slapping me on the back. He was still dressed in his funeral tux, but with the tie gone and his top collar unbuttoned.
I wanted to smack him in his fat over-stuffed face. But I said nothing. I smiled amiably.
“Yeah, the old man probably left it to you, in a grand under-sight I might add.”
“Yeah, he better have, or I’ll have to contest the will,” he said absently, “But I can’t seem to find the keys for it.”
I shrugged. He went over to the large cabinet hanging on the garage wall and opened it – inside were dozens of keys to all the old man’s cars – but there was one spot missing, and that was the Porsche.
“damn it – the Porsche keys are missing,” He said.
“Did you check the old man’s pockets?”
“That’s not funny. If you’ve got those keys, hand them over.”
I quickly frisked myself, even hung out the linings of my pockets.
“You always were a sneak. Where’d you put them?” Chuck wondered out loud. He looked around, as If they'd just materialize in front of him somehow.
“Who cares about the car, your father’s dead.” I muttered, but Chuck didn’t give a shit. All he cared about was his inheritance and that stupid Porsche, like he couldn’t go out and buy a dozen of them.
Chuck finally stopped his futile search, and just glared at me as If something just dawned in that dim brain of his.
“Why are you wearing my father’s coat, you thief! Take it off this instant.”
He shoved me, but I didn’t shove back. Instead I went for the jugular.
“If you let me keep the coat, I won’t tell anyone about you and Jimmy Gregor.”
Charlies face went gray. Idiot – his reaction confirmed my hunch. Not that I cared about Charles Edwin Castles’ sexual orientation, but I couldn’t let him take the coat, no matter how nasty It had to get.
“You haven’t heard the last of this.” He said in a hoarse voice, then he brushed past me and left. I felt bad about it; Charles was an okay guy, from a distance, and, truthfully, I would never have told a soul about his indiscretion. Sometimes you had to play hard ball, that’s all.
I sighed deeply, and then stuck my hands in the pockets of my Burberry. I closed my hands around the Porsche keys and pulled them out once I knew Charles was really gone. I walked over to the driver’s side door and opened it, and got in. I put the keys in the ignition, and turned it to the ACC position, and the dashboard came to life. There was still half tank of gas in the sucker, and the radio was tuned to a Jazz station.
Thoughts were racing through my head; Who am I? Where do I belong? Existential thoughts that have plagued man for centuries, philosophical blockbusters that couldn't be solved before dinner time; things I needed to figure out before it was too late. Absolution for Danny Bloom, whatever that meant.
I saw the remote garage door opener on the dash, and pushed the button on it. The large wooden door suddenly creaked and jangled, and started to rise, revealing a dark and stormy scene out of an Edgar Allen Poe novel, the rain pouring down in curtains and drapes and reams; an abyss of unknown origin.
I turned the engine over, and eased the car out into the storm.
Saturday, October 30, 2010
I’m one of those writers who will catch on to things either too early or too late. In the case of NaNoWriMo (which sounds like gibberish to the uninitiated, but actually means National Novel Writing Month) I had largely ignored it until this year. The thinking was, ‘do I need a writing event to actually get something written’, and the answer is no. However, there is an intangible here; being left out of something so fun just sucks. How can a real writer ignore all the scribbling going on? Who can resist a challenge of writing 50,000 words, or 175 pages, in a month? I guess it’s all about being part of something, it’s about the experience, isn’t it? Besides, I was bombarded with people talking about the damn thing and I guess I’m weak-willed.
So I shall jump into the fray, food and rest be damned, and I will attempt my 1666 words a day (yes, I worked it out, do you mind?) and see what happens.
I got my ass kicked at Scrabble.
That’s not an easy admission; I pride myself on being a wordsmith, but the other night I was thoroughly trashed by my family at a get together. I mean, I came in DEAD LAST! Ego bruised, I sulked for a while, wondering how this could happen to a writer. I have a large vocabulary! I’m intelligent! What’s the deal?
The cold fact is, Scrabble is not writing. A lot of factors come into play:
You have spelled out the word Exhaled with the letters on your little plastic Scrabble Tile holder, waiting for the three goofs ahead of you to take their turn (and they are excruciatingly slow) and you KNOW someone’s gonna take the exact spot you need to get 110 points. They take the spot, and score 110 points.
Sometimes you can’t spell anything with I I I E E E A
No less a complex action than plopping two letters down precisely at the crux of two existing words thereby yielding points from the now three words is quashed when a Q abuts a P rendering the whole operation void.
Generally I suck at anagrams, which is the basis of Scrabble. The letters W G S A A R O are hieroglyphs to me unless I really concentrate … (Gas? Wags? Grows? Swag? Wroaags?)
Panic: Sure I can spell HAT and SPOT with my letters and settle for 3 points, but panic over my low score leads me to obsess and go all Captain Ahab in search of the perfect word which will lead me to Scrabble Nirvana: Triple Word score! So I sit and concentrate on those lovely blue spots on the Scrabble board … points! Victory! Huzzah! I lose! (Plus, when I do get a chance at a triple word tile, I only have the word HAT to place on it)
Playing with people who have a repository of ridiculously obscure words can only cause heartburn and paper cuts as I peruse the scrabble dictionary at a lightning fast pace in order to quash the word WELK that the guy ahead of me puts down between two other words and on top of a triple word score. He says it’s a fish. I say it’s a dead band leader’s name and is inadmissible. He wins.
When in doubt use the word Qwijibo: meaning ‘A fat, dumb, balding, North American ape with a short temper’ while no one is looking.
After I’ve been staring at a triple word score square for a few turns, I get ready to place my word Xenon on it, thereby netting me the bragging rights to the title of Unquestioned Lord and Master of the Scrabble Universe, only to have the guy ahead of me place the word HAT in my spot.
More NaNoWriMo stuff …
Okay, here is the info for National Novel Writing Month, Thirty Days and Nights of Literary Abandon …
National Novel Writing Month is a fun, seat-of-your-pants approach to novel writing. Participants begin writing November 1. The goal is to write a 175-page (50,000-word) novel by midnight, November 30.
Valuing enthusiasm and perseverance over painstaking craft, NaNoWriMo is a novel-writing program for everyone who has thought fleetingly about writing a novel but has been scared away by the time and effort involved.
Okay, gotta go. It’s scribble time (Not Scrabble, Scribble. Ugh …) Lemme know about your NaNo adventures. Keep in touch, and remember, you gotta just Shut Up and Write and everything will be alright.
Note: Don't forget to check out the Campfire Halloween Special; lotsa creepy stories submitted by some good friends of mine, along with some time-honored classics of horror ...
Note: Don't forget to check out the Campfire Halloween Special; lotsa creepy stories submitted by some good friends of mine, along with some time-honored classics of horror ...
Thursday, October 28, 2010
"... I believe the perfect story is a dream. I believe writing is a startling, complex, and astounding problem-solving process Nature has given to all of us ..."
One of my favorite authors growing up was Pulitzer Prize winner Paul Zindel, a YA author. He wrote a book called the Pigman, narrated by two characters named John and Lorraine. It was the first book I ever read that I identified with. Paul Zindel died in March 2003 at age 67.
Here is an interview with Paul Zindel that I found, where he discusses writing.
How did you know you wanted to be a writer?
I think I was always interested in storytelling -- not specifically writing. As a kid I loved to put on puppet shows, make stages, and scare all the kids in the neighborhood with fright parties.
I wasn't hooked on being a writer until I was a junior at Port Richmond High School on Staten Island. What happened was a friend of mine, Richard Cahill, and I hated our geometry teacher because he was strict and looked like a tall, thin ghoul.
So we wrote an essay about him, changing the name of course, and it was published in the school newspaper, "The Crow's Nest."
All the rest of the kids loved it when the story came out, and from hearing that applause, I guess I realized the pen has power -- so I became a writer.
A famous writer and editor at HarperCollins, Charlotte Zolotow, saw an adult play of mine MARIGOLDS on TV, and she spotted two teenagers in it. She sensed that writing for young adults was part of my creative voice, contacted me, and asked if I had any stories I wanted to write for teenagers. I had never thought about it before -- but I did. I had been a high school chemistry teacher and I loved kids! They gave me lots of stories and inspiration!
Yes. I love it, particularly since I am compelled to tell stories. One definition of Hell is supposed to be if you find yourself in your early forties in life and don't like your job! Pick the right job, kids. Do what you love. A good idea is to check what your hobby is, and then think how you can make money at it to live a nice life.
I write, research, or daydream about my book on some level during every waking minute. I write as little as a page or two a day, always in the morning - then rewrite and get out into the world, stumbling about looking for grist and adventure. I always work with a single page outline of my plot so that I never seriously nor permanently get lost.
Whenever possible I write about what I know. I used that tip recently for my memoir, THE PIGMAN & ME, and came up with the best reviews of my life.
I try to feel strongly about what I write. Better yet, I try to write about only those things that make me cry or laugh. I try to be honest. I try to be daring and human. I trust my instincts. I ignore critics, usually.
I believe the perfect story is a dream. I believe writing is a startling, complex, and astounding problem-solving process Nature has given to all of us.
I believe the perfect story is a dream. I believe writing is a startling, complex, and astounding problem-solving process Nature has given to all of us.
Yes. I believe about writing about what you know. Even if I was going to write Sci-Fi I'd still base it on some part of myself. There has to be a drop of your own blood in what you write or it sounds hollow.
There is always something that happens to me that inspires me to write a story. It can be that I meet a terrific person, read a strange headline in a newspaper, or become obsessed with a particular problem. The best kinds of books come when you meet a really great character.
Primarily, by my teachers and schools. Sure, I had a few loser teachers, but most of them were real winners who cared about what I was doing -- I didn't have a great family life.
One of my favorite teachers came to school and was talking to the class when a little furry head peaked out of the top of her dress. It turned out to be a baby chipmunk's head. She had found the little animal lying on the ground on her way to school and knew it needed heat and to hear a heartbeat if it was going to survive.

Great teachers, grandparents, parents; terrific pals can really inspire you. They did me.
One of my favorite teachers came to school and was talking to the class when a little furry head peaked out of the top of her dress. It turned out to be a baby chipmunk's head. She had found the little animal lying on the ground on her way to school and knew it needed heat and to hear a heartbeat if it was going to survive.
Great teachers, grandparents, parents; terrific pals can really inspire you. They did me.
I've been a professional writer since 1968 when I stopped teaching chemistry at Tottenville High School on State Island. I had written a few things before that, but nothing had gotten noticed.
Well, a class of graduate students at UCLA once diagnosed my writing style as being composed largely of hyperbole & bathos. Hyperbole means I tend to exaggerate things, push the envelop of reality in words and story. Bathos means that I tend to also do the reverse, take lofty subjects or words and bring them down to earth. This is my voice. It just happens to be that way because of my childhood and early influences, all of which are subconscious.
Lucky for me, those qualities make me tend toward oxymorons, which duplicate "slang" in a sense, without my using slang. I try never to use exactly what the kids are saying or all my books would become dated. This happened with a lot of young adult books that wrote about the drug culture. The kids soon changed all their language and the adult authors were left with books that went out of print.

12. What makes you think of such weird names for your characters?
Lucky for me, those qualities make me tend toward oxymorons, which duplicate "slang" in a sense, without my using slang. I try never to use exactly what the kids are saying or all my books would become dated. This happened with a lot of young adult books that wrote about the drug culture. The kids soon changed all their language and the adult authors were left with books that went out of print.
12. What makes you think of such weird names for your characters?
I remember when I was going to call a book THE MORTICIAN'S GONE BERSERK. I went into a classroom and asked the kids what they thought of the title. They asked me, "What's a mortician?" I asked if they knew what an undertaker was? They said "yes."
Then I asked them how they liked the word berserk, or do they think CRAZY, LOONY, NUTS, INSANE is better. They said they liked the word BANANAS. I was surprised because I thought that word had disappeared, but they said, NO, IT'S ALIVE AND WELL. So I called the book THE UNDERTAKER'S GONE BANANAS and it was a hit.
Then I asked them how they liked the word berserk, or do they think CRAZY, LOONY, NUTS, INSANE is better. They said they liked the word BANANAS. I was surprised because I thought that word had disappeared, but they said, NO, IT'S ALIVE AND WELL. So I called the book THE UNDERTAKER'S GONE BANANAS and it was a hit.
Only one adult novel, which was a best seller in Italy. THE PIGMAN is one of the best selling children's books of all time with over 7 million copies sold.
15. We wanted to know what you thought your best book was?
I know it used to be THE PIGMAN. That certainly would be my best novel as kids tell me over and over again. It does have a raw energy and all the reality I had from being a chemistry teacher with a lot of my wild students. But lately I've been starting to think that my favorite book is THE PIGMAN; ME. It's a memoir, and I think the material is emotional and resonant enough for me to write a play about it.
16. What did you win the Pulitzer for?
I won the Pulitzer Prize in 1971 for a play called THE EFFECT OF GAMMA RAYS ON MAN-IN-THE-MOON MARIGOLDS. It was eventually made into a movie starring Joanne Woodward directed by her husband Paul Newman.
It was one of the first things I wrote using the concept of "write about things you know." I used my family as the model. Little did I know I had one of the first dysfunctional families since the word was invented.
The play had been originally done at the Alley Theater in Houston, Texas, but the NY Times critic called it too elliptical. By 1970 that critic had been fired or dead, and when the play was done in NY it was a hit.
17. Why do you always write about love or teenage love?
I analyzed once the things I write about, elements which seem to be in every one of my books. They are things that are of interest and importance to me, emotionally or entertainment wise, but I explored them for teenagers because I found they were important to them too. The elements are:
1)School background somewhere in the novel
2) Parents get small parts
3) Exciting language
4) Mischief
5) Short books for short book reports
6) Romance
7) Action and suspense
8) Honesty
9) Most are written in the first person
10) Transitional pictures (as in THE PIGMAN 'Help me! A rotten science
teacher has given me a drug to turn me into a teeny, weenie, tiny mosquito!')
Love is one of the only items kids and adults are really interested in. I notice in a theater that when a character talks about their relationship, the audience grows silent and truly interested. Me, too. We all want to learn how to find and experience love.
Love is one of the only items kids and adults are really interested in. I notice in a theater that when a character talks about their relationship, the audience grows silent and truly interested. Me, too. We all want to learn how to find and experience love.
Do my novels have any influence on kids? Yes, I know they do. Some kids grew up to write in a style similar to mine and sent me their work. I think many books by many writers influence many kids -- influence their conscious and their unconscious minds. Books are very powerful things. Sometimes we pick up a very small idea from a book. Sometimes we pick up a great deal. Sometimes a book can change a kid's life.
I know that THE PIGMAN has changed many kids from non-readers into readers. I've gotten a lot of mail and heard from a lot of kids and teachers on that score. Other areas I've seen kids influenced by my books include their attitudes toward their parents, responsibility, death, aging, friendship and love, etc.
Having a book read by a whole class can result in a book producing the greatest changes in the students. When a teacher leads a class through a book and provides an opportunity for questions and discussion (and even writing the author) -- these are things a kid doesn't forget.
We have wonderful computers in our brains. Very little gets wasted. Even if a book is used solely for an awareness of its technique--such as point of view, voice, style, use of irony , etc. -- it's a rare book that is totally useless.
I know that THE PIGMAN has changed many kids from non-readers into readers. I've gotten a lot of mail and heard from a lot of kids and teachers on that score. Other areas I've seen kids influenced by my books include their attitudes toward their parents, responsibility, death, aging, friendship and love, etc.
Having a book read by a whole class can result in a book producing the greatest changes in the students. When a teacher leads a class through a book and provides an opportunity for questions and discussion (and even writing the author) -- these are things a kid doesn't forget.
We have wonderful computers in our brains. Very little gets wasted. Even if a book is used solely for an awareness of its technique--such as point of view, voice, style, use of irony , etc. -- it's a rare book that is totally useless.
Bravery is not the first word that comes to my mind when I think of a writer. That is too lofty. I think "compulsion" is closer to the primary quality. I believe most good writers of fiction have to tell their stories or they'd go quite mad.
It is quite simply the way that they solve problems. They take all their questions concerning life and death and good and evil and joy and sadness and assign aspects of the question to characters who then move through a story looking for an answer. Because the answers are usually very important to him/her, it is sometimes a bit terrifying facing that answer when it appears in an epiphany, an insight toward the end of each story.
Somewhere around there, a bit of bravery is needed, because some of the answers are shocking, along with the joyous ones. Sometimes an author is so afraid of the answers he/she must pretend the story has nothing to do with himself/herself personally.
20. You have also worked in Hollywood and have written many movies. Could you tell us all about your experience as a screenwriter, as well as, about some of the movies you've worked on?
I started by writing the screenplay for UP THE SANDBOX starring Barbra Streisand. Many people have asked me what it was like to work with Barbra. It was like trying to have a picnic at the end of a runway. I have several hours of tape form an interview I did with her in which she told me incredible things.
One of the most significant things she told me was that when she was 12 a lot of people wondered how she could sing an emotional love song. She explained that when she was in school the other kids found her so ugly, even some of the girls used to beat her up. She said when you carry around that much emotion and yearning inside you, it's got to come out somewhere.
I worked with Lucille Ball (from the I LOVE LUCY TV show) when I wrote the screenplay for MAME . That was a trip, but she was always nice to me. A highlight for me was when I was walking across a sound stage in Hollywood and she ordered the entire dance company to perform OPEN A NEW WINDOW dance for me.
I never went on the set of RUNAWAY TRAIN . I had actually done an earlier draft for Stallone. I didn't meet Jon Voight, the star of the movie, until the opening night party for the movie in New York. The Russian director of the film had brought back cases of great caviar with him which was a highlight of the party.
A mistake in the film was casting Jon Voight's girlfriend as the woman in the control area of the train depot. She couldn't act. All my experiences in Hollywood have been of that sort -- I've not been connected with a film of truly pure artistic vision. For that to happen, I think the writer has to be the director and only the finest, qualified actors and technicians must be used. But I wouldn't have missed a minute of it for the world.
21. All of your books seem to involve death. Why?
You're right, a lot of my stories mention it or have a death in them. Lots of other people's stories do, too, but I think I know why mine do.
Common symbols or exponents are often found in an author's work, and only after a writer writes for a long time and reads a lot of reviews and hears a lot of comment, can the patterns be seen or noticed. It's always good to look to a writer's childhood to see the roots of such frequent themes in his/her work.
I grew up and witnessed a lot of death and dying. Not like living through a war, but what death I saw grabbed my attention and haunted me. I saw a plane crash and kill someone near my back yard.
My mother often killed our pets by having them put to sleep by a vet. She'd often get in fights with landlords and we'd have to move. Sometimes the new landlord wouldn't allow pets, and my mother believed that a pet could never love another family, so she wouldn't give it away. She'd kill it. Once my sister and I had to bury a dog in the mountains and cover the grave with stones so animals wouldn't dig it up.
Also, death is in my stories often because, I believe, my mother was a practical nurse who used to bring dying patients into our home as a way of making money. Several old people died under our roof. In the morning, it was not terribly unusual to see a coroner or undertaker arriving and taking out a body in a rubber bag.
I can imagine how gruesome this sounds to you. Well, it was gruesome to me, too--but at least now you have some idea why death manages to creep its way into my stories so much. My brother-in-law went to see my play MARIGOLDS. The only thing he said about it afterwards was, "OH, PAUL, IN EVERY STORY YOU EVER WRITE SOME POOR ANIMAL KICKS THE BUCKET." And that was one of his better, in depth, reviews.
Also, my mother always thought she was dying. She said a lightning bolt once came hurtling toward her. Another time she said a rat tried to leap for her throat. Also, to frighten my sister and me whenever we'd misbehave, she'd say she was going to jump off the Bayonne Bridge! In my mother's words, from MARIGOLDS: "This long street, with all the doors of the houses shut and everything crowded next to each other... And then I start getting afraid that the vegetables are going to spoil... and that nobody's going to buy anything..."
My mother was always waiting for disaster. I think that kind of thing can rub off on a kid!
Common symbols or exponents are often found in an author's work, and only after a writer writes for a long time and reads a lot of reviews and hears a lot of comment, can the patterns be seen or noticed. It's always good to look to a writer's childhood to see the roots of such frequent themes in his/her work.
I grew up and witnessed a lot of death and dying. Not like living through a war, but what death I saw grabbed my attention and haunted me. I saw a plane crash and kill someone near my back yard.
My mother often killed our pets by having them put to sleep by a vet. She'd often get in fights with landlords and we'd have to move. Sometimes the new landlord wouldn't allow pets, and my mother believed that a pet could never love another family, so she wouldn't give it away. She'd kill it. Once my sister and I had to bury a dog in the mountains and cover the grave with stones so animals wouldn't dig it up.
Also, death is in my stories often because, I believe, my mother was a practical nurse who used to bring dying patients into our home as a way of making money. Several old people died under our roof. In the morning, it was not terribly unusual to see a coroner or undertaker arriving and taking out a body in a rubber bag.
I can imagine how gruesome this sounds to you. Well, it was gruesome to me, too--but at least now you have some idea why death manages to creep its way into my stories so much. My brother-in-law went to see my play MARIGOLDS. The only thing he said about it afterwards was, "OH, PAUL, IN EVERY STORY YOU EVER WRITE SOME POOR ANIMAL KICKS THE BUCKET." And that was one of his better, in depth, reviews.
Also, my mother always thought she was dying. She said a lightning bolt once came hurtling toward her. Another time she said a rat tried to leap for her throat. Also, to frighten my sister and me whenever we'd misbehave, she'd say she was going to jump off the Bayonne Bridge! In my mother's words, from MARIGOLDS: "This long street, with all the doors of the houses shut and everything crowded next to each other... And then I start getting afraid that the vegetables are going to spoil... and that nobody's going to buy anything..."
My mother was always waiting for disaster. I think that kind of thing can rub off on a kid!
22. How do you feel about the emphasis on adolescents as compared to when you were a kid?
Now that you mention it, I don't think there was much of an emphasis on adolescents when I was a kid. I think that was because adolescents weren't such an important part of our society at the time.
Now that you mention it, I don't think there was much of an emphasis on adolescents when I was a kid. I think that was because adolescents weren't such an important part of our society at the time.
Teenagers usually got married early when I grew up. There were no drugs. They'd drink beer and get drunk. They went to work in factories. They had kids early. They didn't cost as much. There weren't so many toys, cars, clothes, CD's, etc. to get them.
I think a lot of them went to work and married early just to get out of the house because there wasn't much else to do. They didn't spend a lot of money, so big business wasn't all that much interested in them.
Now our society worships youth. Now we understand that being an adolescent is a wonderful thing. To be young and healthy and live in a world that is filled with diversion and rich with invention is a grand experience--or should be. Someone said, "Youth is wasted on the young." Maybe not.
24. Which are your most autobiographical books?
25. What is my advice on writing?
I write, research, or daydream about my book on some level during every waking minute. I write as little as a page or two a day, always in the morning - then rewrite and get out into the world to stumble about looking for grist and adventure. I always work with a brief outline of my plot so that I never seriously nor permanently get lost.
Write about what you know. Whatever you don't know, research. Remember that CHARACTER = PLOT. If you don't have a story make a long, detailed character sketch about your main character.
When you look over the list of who the character is, you'll glimpse whole scenes of action! Don't write unkind things about kids in your class who have ugly faces. If they get in a fight, they'll have nothing to lose.
Start off your story with a grabber, like "On my first date with Louise Jones I didn't know her grandmother was a ferocious werewolf."
If writing a horror story, don't put too much sauce on the pizza. Never forget that in every fat book there is a thin one trying to get out! And when in doubt, remember that a closed word processor gathers no feet.
Don't give up.
26. If you could give a kid one word of advice on how to become a good writer, what would you say?
The most important advice about writing anyone can ever give is to write about things you know. One of the ways in which I used that recently was by looking into my old family photo albums and making a montage of the most interesting pictures I could find.
The photos awaken memories in me which became a story I had forgotten--about being a kid in Travis on Staten Island. I wrote the story as a memoir called THE PIGMAN; ME.
The other truism about writing I use is the concept that CHARACTER equals PLOT. I often start conceiving a story by fixing upon a character and writing down everything I know about him or her. Once I truly know my character, I am able to glimpse scenes and eventually a plot.
Good luck writing. It is a wonderful way to recreate a joyful, funny, painful, worried, or lonely time in your life. It is a wonderful way to explain, to parody, to entertain, and to get to know ourselves.
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