War Journal 39: The Royal Treatment

Even in the trenches, sometimes you gotta break out the good china.

Recently, I reported my suspicion that the editors of the world were colluding to drive me crazy.  After another week of waiting and a query letter (who knew those things worked?!) I got a response from the editors of Nine.  They want my story, “Orc Legal” for their second issue.

This isn’t my third and final pro-level sell to make the SFWA, yet and still I’m very excited about this one.  First is because I believe Orc Legal to be one of the funniest, if not the funniest story I’ve ever written and it deserved a decent home despite market aversions to humor.  Second, Nine: A Journal of Imaginative Fiction pays something I’ve never gotten paid: royalties.

On top of the standard flat rate, Nine is paying me 9% of all profits from the sell of Issue #2.  Getting royalties marks another writer milestone for me, one where my spending cash is directly tied to how well a publication does.  I’m all like “Go Nine!” (I even pronounce the italics).  Meanwhile, I’m rubbing my hands together, envisioning an endless parade of coins with legs marching behind a dollar sign, all of them strutting blindly off a plank into my Scrooge McDuck style money pen.  Here’s your new home my shinies.

At 5 bucks an issue, I don’t expect to pop bottles on my private jet as it’s headed back to the States all thanks to Nine #2.  Still, if something is left to wonder, I’m that cat that’ll go off wondering, the optimist who’s keeping hope alive that thunderstorm sized electricity will buzz about Nine #2′s awesomeness.  Plus at 5 bucks an issue, I know you guys subscribing are raring to see what I believe is my funniest story to date.

Stay tuned for updates on when it hits the market.  And after you check me out, go tell ninety million of your closest friends.

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War Journal 38: Torture Musing

Technicolor goes on hiatus and editors everywhere mourn, abandoning the slushpile…

They say while you’re waiting for editors to respond to your story submissions, you should take the opportunity to write more.  I agree with that because it’s not like sitting around doing nothing is going to make the slushpile move faster.  More stories in the stable means more opportunities for paydays.  So yeah, write while you wait, a fledgling storyteller’s version of “whistle while you work.”

Still, I can’t write but so much.  My last longing look at my Duotrope told me I currently have 18 stories working the slush, ranging from 218 days away from home to 2 days.  Close to half of these subs have exceeded the average response time, meaning while other writers have already gotten their responses, these same markets have decided to keep me on the edge of my seat waiting to hear their reply.  For nearly two weeks now, I’ve been wearing out the fabric on the edge of my seat. The only thing that’s changed is the number of markets who are keeping my response the next best kept secret since the colonel’s original recipe.

Of course, I try not to think about it.  Write a lil more, drink some Tang, work out, pass time in the forgotten reaches of Helmand Province.  But I’m a storyteller, and I see stories in everything, including these gaps in response times.

Meanwhile, at the shiny, futuristic offices of Publisher X:

*Intern Bob bursts into the Head Editor’s Office waving awesome story by yours truly*

Intern Bob: Head Editor Mary!  You’ve got to check this story out, it’s got legs!

Head Editor Mary: Who are you?

Intern Bob: You ask me that every Monday.  I’m Intern Bob. Read this story.

Head Editor Mary: Come back tomorrow, Bill.  I have to recover.  I spent my whole weekend going wild enjoying modern amenities not available in Afghanistan, things like high-speed Internet, lite beer and Waffle House.

TUESDAY:

Intern Bob: I got this story, Mary.

Head Editor Mary: Ho ha!  Not while I’m practicing my Kung Fu… Eagle Claw!  Praying Mantis Fist!  Tiger Style!!

WEDNESDAY:

Intern Bob: No crane kicks today, I see!  Great, now you can check out this story…

Head Editor Mary: Who’s this?  James Beamon?  That’s not a cool name, a writer’s name.  You want to know a cool name for a writer?  Minister FaustCat Rambo!  Hell, your name’s cooler. It makes me want to learn more about you. What sick mother names her son Intern?

Intern Bob: I never knew my mother.  I was raised by a roving band of fortune telling circus clowns.  It was a fun childhood.  By the way, you shouldn’t come to work next Tuesday.

THURSDAY:

Intern Bob:  No lie, Mary.  Really.  Check this out.  For serious.

Head Editor Mary: Who are you?

###

All I’m saying, is that the mind can play tricks on you in the remote mountain wilds.  Right now, I can’t be sure this isn’t really happening at one of those publishing houses that are past due on a letter.  Here’s hoping for Friday.

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Trench Gristle 04: A Matter of Life and Death

Death (1911 version) by Jacek Malczewski

A Matter of Life and Death

by James Beamon

When Death asked Life to lunch, she should have known something grim was behind it. But the call of enjoying stolen moments with her husband was too strong to resist. And if all else failed, Death had her with his winning smile.

They sat in a corner bistro. It was trendy. Life loved it. Death wasn’t so much a fan of the decor, but the finger sandwiches were to die for. He had compromised for the occasion.

Life was talking about her day, the beautiful faces of babies that he should have been there to see. Death let her talk. His back was to the door but he heard the door chimes. She looked up and stumbled in mid-sentence. She looked away from the door, from the man that had entered, and refocused on her husband. It was enough to confirm his suspicions. His anger was cold.

He looked at her with hollow eyes. “Problem?”

“No… no, dear.”

“What were you saying? About the baby with the freckles?”

She continued her story, but it had lost its mirth. Now it dragged itself across the table, like a wounded animal, to some fuzzy finish line that even the story teller couldn’t place. Once it found that line, it would die and a new era of silence would usher in. Right now, it still dragged.

Death looked at the man while his wife talked of babies and freckles. He was the perfection Renaissance sculptors strived for in their marble. Breathing, smiling, ordering a venti white chocolate mochachino (no whip) life-imitating-art perfection. Death knew his name; it was Lars.

Life saw where Death’s gaze was and stopped talking about babies. “You planned for him to be here.”

“He loves you,” said Death.

“Everyone loves me,” said Life.

“Everyone knows you. And some tell themselves they love you. But no, he loves you.”

“You’re being jealous.”

“Am I?” He blew Lars a kiss.

Lars made the universal sign for choking. His chiseled face twisted in shock as an errant piece of biscotti lodged itself into his windpipe. He knocked over table and chair, the commotion his only voice to direct aid to his plight.

Life cut her eyes at her husband. “Why would you do this?”

Death shrugged. “He is no exception. Or did you think he would always be yours to enjoy and never mine to take?”

The manager rushed over, got behind Lars and started giving him Heimlich hugs. Death always thought that position was quite gay.

“And that, dear,” Death said, pointing to the marked man as the near-fatal biscotti erupted from his mouth. “Why would you do that?”

“He wasn’t done with me yet.”

“Is it him that’s not done?”

“He loves me.”

“Everyone loves you, remember? You won’t miss him.”

An armed robber burst through the door, fired off two rounds into Lars, grabbed the manager by the collar in the middle of his life saving celebration and pulled him over to the register.

Life had stopped paying heed to the robber while he filled his pockets with register cash. Her icy dagger looks were reserved for Death. They let him know this wasn’t the sweet Life he was used to. And Death was momentarily rueful of his actions. Momentarily… she was the one who made him act this way. Still, Death knew her well, and when she was like this Life was a bitch.

“You are really too much,” she said. “He has a zest for me. An appreciation for me that you’ve always lacked. I won’t let you make me feel bad because I like being appreciated.”

A cop burst in and called for EMS. He started doing expert life saving procedures and brought Lars to a weak but somehow stable condition.

Life’s ire rose with Lars’ pulse. “You don’t see me bringing up all the people you rattle. Or the ones you let linger by your door. Let me guess, you’re just enjoying your work?”

“This isn’t about me. No one’s consumed with me. I’ve seen the way he looks at you. And I’ve seen the way you favor him. Which makes him love you even more. I won’t stand for it.”

The town’s first earthquake on record hit with ferocity. None of the buildings were up to earthquake codes. Many roofs fell, but the one Life was most concerned with was the large chunk of roof that fell on both cop and Lars.

Death had put his hands over his cup. No dust had gotten in. However, his finger sandwiches had grit in them.

His nonchalance sent Life reeling. She threw her plate at him, which was mostly empty save the sliced lemon garnish. He dodged the plate but caught Life’s lemons square on the jaw.

“You won’t stand for it?” she asked. “No one’s consumed with you? I’ve seen people obsess over you. So don’t you sit there pretending to be all innocent.”

The chunk of collapsed roof split. Lars crawled out, panting, scraped up, white as a ghost from ceiling dust and effort.

“You can’t have him!” Life said with emphatic passion.

The building next door exploded due to a gas line ruptured by the earthquake. It set Lars on fire and blew him through a brick wall.

Meanwhile, Death was busy peeling her lemons from his face and dropping them into his glass of water.

“You. Can’t. Stop. Me.” Death stated with cold rigidity.

Lars stumbled through the brick wall. He was still breathing, still on fire.

Life glared at Death. Death stared back.

Lars stopped breathing. He kept on moving.

Neither Life nor Death would compromise.

Lars lived. Lars was quite dead. He retained his overwhelming taste for Life. Still, mind and body were doomed to rot to Death. In single-minded focus, he ambled off, hungry to spread his contagious taste to others.

*******
The story behind the story: I don’t recall why I wrote it. And while I still believe the story is sellable to somebody somewhere, it’s reached the end of its life-cycle as far as I’m concerned. I’ve shopped it around to over a dozen places, and the few comments I’ve received on it are positive but not enough to make a payday. Character driven fiction is way more marketable, and this is more of an Idea and Event story than anything else. Life and Death as personifications don’t grow all that much… Lars doesn’t grow at all. One editor suggested I make Lars more three-dimensional, personable and human. I’m of the mind to think it’s better this way… he reads like an object because Lars, like all humans, is objectified by these two powerful, nonhuman aspects of existence. I couldn’t write Lars as human because neither Life nor Death can truly see humanity for what it is. At least that’s my take on it… my hope is that you all enjoy!

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Creative Combat Arms: The War on Was

Your crusade is not without consequence.

The problem with universally agreeable advice is the lack of dissent against it. Since there is no dissent, there is no analysis on possible negatives, no connotation that the advice, if followed rigorously, systemically and completely, could cause a problem. There is no such thing as too much of a good thing.

Writing sites all over the web will tell you to kill passives: passive voice and passive verbs. Attribute action. Bring power to your prose with punchier verbs. Indeed, this is a good thing, and most of these sites affect to know a good thing is something you can never have too much of.

‘Was’ and ‘is’ are not punchy verbs. In fact, they’re the king and queen of passive verbs. They just sit there, not doing, just being. They may as well have a target painted on. And while some websites will tell a writer they need not excise all “was”, none of them will tell you when to use it. Most will give you glaring examples of how much ‘was’ sucks:

NOT: John was hungry.
BUT: John hungered.

NOT: Bob was determined to beat the deadline.
BUT: Bob rushed to finish.

You don’t want your writing to suck. And the wases are doing nothing for you; they’re just sitting there, being. So you kill the was. You seek and destroy, chasing ‘was’ from the pages without mercy or hesitation. I’m not exaggerating. One writing teacher says on her site:

Creative writing instructors tend to get obsessive about removing passive verbs from fiction. I’ve harped on this subject so often I have occasionally caused students to agonize over how to avoid using “was” and other forms of “to be” completely.

As a reviewer of many new writers just learning how to hone their skills in the fine art of storytelling, I have seen the War on Was up close. It needs to stop. Your crusade is not without consequence.

There is such a thing as too much of a good thing. Ever hear of water poisoning? Or oxygen poisoning? If the very essentials of life can kill you in large quantities, what do you think will happen to your story if it gets too much of something?

Do you know what happens when all your verbs are crammed, stuffed, packed with action? When all trees crowd and all roads stretch and all mountains tower and nothing stays still? When everything’s moving, shaking, careening and ka-booming? The same thing that happens if you lived a full day of your life on a roller coaster, getting jostled and bounced and turned topsy and thrown turvy in constant, relentless, endless motion:

Nausea. After that, the fervent desire to just go home and rest.

We appreciate contrasts. NBA players are only tall next to average people, not each other on the basketball court. A 40 mile per hour motorist isn’t slow until he’s crawling through 60 mph traffic. But you need the average heighted person to appreciate how tall that ball player is. You need the slow motorist to appreciate speed when you see it. That’s ‘was’ in writing. If everything is moving and punchy then nothing is moving. Nothing is punchy.

Beyond the contrast, realize you are waging war with part of a sentence, and only a part. What happens to the other parts of your sentence when you start renovating and overhauling the verb? Your crusade is not without consequence. Getting punchier is all well and good when John’s hungry and Bob’s rushing but what happens when you want the focus to be the subject or the direct object or anything else other than some show-stealing action verb? You ever notice that the tips sites don’t give this as an example of ‘was’ sucks: “To be or not to be, that is the question”? Or how about Ray Bradbury when he said in Fahrenheit 451, “It was a pleasure to burn”?

Your crusade is not without consequence. I’ve said it a few times for a reason. Look at my mantra through the lens of ‘was sucks’. If you make the verb punchier, how could you not lose some of the alliterative appeal of the sentence, or dilute the grandness inherent in the subject’s metaphor?

Understand that changing a part changes the whole.

Finally, you are the storyteller. That goes beyond the narrator; it extends well past taut action, crisp dialogue and punchy verbs. You are the key… the window to events, people and places we the reader cannot imagine without you.

It is your duty to report their state of being faithfully. Sometimes, some things just are.

Now don’t go taking my advice to extremes and leaving a field full of passive voice/passive verbs. Some sentences (sometimes many sentences) need that loving touch of your overhaul. But leave the “find and replace” function alone. Stop the witch hunt on was. Instead of arbitrarily hating was, look at the whole sentence. Then look how that sentence fits in your paragraph, and how that paragraph fits into the overall story. If it feels right, if it sounds good, if the actiony, punchy, newly realized sentence version 2.0 just doesn’t have the same flow then consider carefully. You may be better off leaving was as is.

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