The Way of the Neoneurotic Writer

So the fifth draft of The Witness is finally finished, and except for a polish job based on what my first readers tell me (provided I don’t plug my ears and shout NYAA NYAA NYAA I DON’T HEAR YOU like every writer wants to do when confronted with a reasonable, well-thought change) this is what I’m going to send out to the world. In the meantime, I’m working on a few stories. I also finally decided to listen to Billson, the main character of my Steampunk Fantasy novellas and dug out the latest piece that I wrote about his adventures in the Secret Eye. I have a new novel churning in the back of my head (never a pleasant feeling at the best of times) but every time I try to dip into it or even just invite the characters over for tea and a good long talk about their story, Billson runs to the front of my head and starts screaming at me.

So , while I get this novel ready for publication, I’ll be posting my agonizing rewrites of the Billson Saga (tentatively titled Billson Can Eat a Bag of Dicks). I love the character, but he can be annoying at times… he’s not just acting like that in the stories.

 

Sometimes They Come Back

Alright, it’s been a year, and I’m back. A lot of fiction has been keeping me busy, including my own. I will be updating the podcast soon, as well. And hopefully I’ll have good news about more of my publishing endeavours soon.

In the meantime, I’ve had the title story stuck in my head. The idea of something that you thought long buried from a horrible incident as a child coming back to destroy your life as an adult has a lot of resonance. I think my current writing falls somewhere between that and some of Robert Cormier’s darker work. At least I hope that’s where it’s falling.

 

Horror of the Unknown

A lot of people talk about this. A lot of writers pay lip service to this idea. But in my reading experience, the ‘horror of the unknown’ only holds for the first half, or maybe the first two-thirds of the story. At the beginning, no one knows what is killing teenagers in the woods, or making religious icons burst into flame, or causing people at a remote scientific outpost to go crazy. But as the hero or heroes investigate, a few clues start to slide into place, and soon, someone rips the mask off of the demon and we find out what it is. It may be a crazy bus driver or something realistic; it may be a demon or elemental force or something barely understood by our science. But we learn some sort of explanation for what it is. And by the end of the story or book or movie or videogame, we feel exhilarated that we survived. We’re also happy that we know what was causing everything to go wrong, and the better the ‘twist,’ the more shocking the reveal, the happier we are with the story.

But what if we never find out?

What if, as in the original French/ Dutch version of The Vanishing (which is better in every way except for not having Jeff Bridges in it), the hero finds out but no one else does?

What if, as in From a Buick 8, the phenomena eventually stop but there is still no explanation for what they were or what was causing it?

What if our protagonists manage to escape, but still never find out why they were being stalked? Or what would prevent it from happening again?

Two of my favourite horror stories are both by Robert Aickman and found in the collection Cold Hand in Mine. Both of them, “The Swords” and “The Hospice,” have a POV character plunged into an eerie situation. By the end of the story, we’ve seen hints of more details behind the scenes, knowledge and information that perhaps we’re not ready for, but we never completely learn what caused everything to happen the way that it did. And both stories are still horribly stuck with me, years later.

Many writers talk about the moment where they have to unmask the monster. But sometimes the hero can’t do that. Or, maybe, is just too frightened to.

…And Speaking of Horror

I spent the weekend updating the spam filters on this blog. If you were to look at the dashboard for this blog, you would see that out of 68 comments, I have now approved exactly 1. (That also means that you need to comment on this.) I had to fix a couple of things under the hood as well, and the format and layout of this thing will look a little different, soon. Still wide open for suggestions.

Witness, Chapter Eight

And here is the next chapter of Witness. I’ve been devoting my time to polishing a novella for eventual publication, and working on the sequel to it, but I can’t let this fall behind. My Muse first told me this story in January of 2006, and it took me five years and change (plus two false starts) to even start a rough of it… if I stop now, she’ll be pissed.

The Slow Anticipation

‘We entered the land of desolation on wings, and in less than half an hour there was neither boat nor fishing-hut nor red roof, nor any single sign of human habitation and civilisation within sight. The sense of remoteness from the world of human kind, the utter isolation, the fascination of this singular world of willows, winds, and waters, instantly laid its spell upon us both, so that we allowed laughingly to one another that we ought by rights to have held some special kind of passport to admit us, and that we had, somewhat audaciously, come without asking leave into a separate little kingdom of wonder and magic…” — Ambrose Bierce, The Willows

I’m not completely sure how I missed this story in the years that I’ve been reading short horror fiction. This is especially embarrassing to me as I much prefer horror and gothic and creepy stories over their novel-length versions. True, I went through a phase in the 80s where I read everything with a foil-embossed cover and a frightened child and a blurb from an author who may once had been told the plot by an agent. And when I grew out of that, short horror fiction, especially the stories of Poe and Lovecraft, Borges, Dick, and holy-crap-Robert Aickman… every minute that you spend trying to find one of his out-of-print books or working to buy a reprint is a minute well-spent. This goes double for Cold Hand in Mine. I used to feel bad about this, but sometimes, when people ask me what Stephen King piece I like the most, I answer “The piece where he recommended Peter Straub and Robert Aickman. If nothing else, “The Swords” is the most disturbing story about a man losing his virginity (in a couple of ways, not just physically) and is one of the books my Muse likes to pull out when trying to tell me what I could be writing.

And I am writing. I have two chapters more of Witness to put up, and I’m re-re-revising a novella (after having it thoroughly shat on, then rinsed off, then set on fire, by my fellow editors at “Empyrean Press”) and another story finally crawled out of my noggin. I may actually put the new story up today… I could use input, and I’m worried that it’s too obvious and cheesy. For now, here’s one of the few poems that I’ve written this year:

 

Fragment from a poem about death

across the field

And still he ran, shouting, after
the birds that had left

Screaming for them to come back

Though he didn’t know what
he would do
if they
did

except

join them sooner
than later

Witness, Chapter Seven

Writing another post for tonight, this one about horror and epilepsy and surfacing from a bi-polar episode. But before I do that, I decided to put up another chapter.

Creating Conflict

This subject came up on one of Reddit’s writing forums. I just wanted to share my answer on here as well.

 

Creating conflict is as easy as taking candy from a baby.

Seriously.

‘The baby’ is your comfortable character.

‘The candy’ is his comfort.

The antagonist either takes it away or destroys it

 and the baby has to grow up and get it back.

It was one of those metaphors that just seemed to make more sense the more that I thought about it.

Thoughts?

No Helmets Required

Writing from one’s past is more than a matter of memory. It is a matter of self-censorship… or rather, uncensorship. It is remembering not just what you did but why you did it. It is thinking of everything that was so important then, and realizing how insignificant it is, now. It is, most of all, taking all of the rationalizations, justifications, and fictions that you’ve made up over the years, stories that you’ve told yourself in order to live in relative sanity, and recognizing them for the lies they are. In this world, the world of an Artist telling the Truth of his childhood, there is no such think as a white lie or an exaggeration. They are the falsehood-as-sunglasses, designed to keep the sun from burning your eyes into a smoldering pile of ash.

It is a dangerous mission, descending into the past without the benefit of safety gear, and it may be why so many writers are depressed. In examining and creating believable motives, we must first unearth our own.