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Monday, August 11, 2014

A Demon's Rubicon (Part 5) By Chris Brecheen


A Demon's Rubicon
by Chris Brecheen 

Part 1 
Part 2
Part 3
Part 4

The angriest I’ve ever seen an instructor was my chemistry teacher, Mr. Chaidez. I’ve seen kids threaten the teachers, melt down, end up being dragged off by security, but I never saw a teacher get angry the way he did. Mr. Chaidez was a lanky guy easing into the final lap of his run towards retirement. He had crinkles around his eyes that stretched and multiplied whenever he laughed or got angry and a shock of black hair that was just starting to go grey when I showed up to learn stoichiometry as a junior. He had a 50ml plastic baster thing with a sad face drawn on one side and a smiling face on the other. He would hold it up one way or the other depending on people’s answers. He was always saying things like, “It’s so easy, it’s cheesy” about thirty seven step problems that would constipate Einstein. He would tell me I was a lazy bum every time I didn’t turn in homework, and often recommended I memorize the menu at Burger King.

I saw the sad face side of his baster a lot.

Mr. Chaidez also let people turn in labs late for half credit right up until the last day of class—a policy that he would change the year after I took his class. He gave ten points each for the title page and the conclusion page, which could be written up with no other work. That meant that on the last day of class I was able to turn in just the first and last page of some ten or eleven labs that I’d never done.  My name, date, and a title on one sheet and a sentence saying the result of the experiment on another and I could squeeze out a hundred or so extra points.

“What the fuck is this?” he shouted at me before I had even gotten back to my desk.

The classroom froze. Teachers didn’t drop the F bomb in class.

“This is pathetic,” he screamed, standing with my labs clutched in his hand. “Brecheen, this is like going to take a shit and only farting. I can’t even believe you would waste my fucking time with this.”

I didn’t have anything to say. I just sat down and hoped it would end soon. The whole class shifted between sympathetic stares and nervous titters. Eyes were either glued on me, watching Mr. Chaidez in horror, or deliberately avoiding us both.

I lost track of the rant, but it went on for a couple of minutes. My integrity as a student and a human was questioned and there were lots of rhetorical demands that I explain myself. Finally I heard his voice pitch up and he stared at me expectantly.

“Well?” he asked.

I shrugged. “I dunno, I figured I’d get a few points. Try to pass. I don’t really want to be here next year.”

Chaidez didn’t soften, but he was clearly done talking. He stamped back to his desk with my labs and began to record them while he seethed. Occasionally his eyes flicked up to glare at me.

Then he started laughing. It was sudden, jerking, and sounded more like successive barking. He laughed and shook his head and his eyes slowly slid up to meet mine. “You just passed the class because of this…crap,” he said, holding up my labs. "I can't even believe how pathetic you are. Enjoy."

He just shook his head and laughed again. That was the last thing he ever said directly to me.

If there was a reason I walked out of high school without a sense that I had accomplished anything worth accomplishing, it was probably because of moments like those. Moments where I learned that it was absolutely possible to pass and fail at the same time.


I was never a saint. Moments where I stood up to bullies (when I did) were flecks of glitter in the grime-covered filth of my childhood. The rest was a cacophony of moral ambiguity and rationalized mischief bordering on the felonious–and sometimes crossing that border without pause.

Not only did I not always defend Jason, but sometimes I was the one putting my hand on my hip and mocking his voice: “I don’t appreciate that.” Sometimes I was the one snapping his headgear in a hotel on our band tour because he’d had the temerity to launch himself at me when I wouldn’t stop making fun of him to Chris G and Tim. Sometimes I led the charge on a round of fat jokes because at least they weren’t making fun of me. At least they weren’t making fun of me.

My loyalty had an elasticity that I hated, and each time alone with Jason, laughing until I couldn’t see straight about the vaginal hygiene of Cindy Portman or the absurdity of doing taekwondo forms to fight gang bangers. In those moments between the ticks when I realized Jason wasn’t just a friend of proximity, I would promise myself not to let him down again.

But I would. I always would.

Life doesn’t hand you too many wins. It’s greedy with them—stingy. It makes you work. They’re mixed in with character-building defeats, and frustrating stalemates. These stories were all moments where childhood flaked away like skin sloughing off after a sunburn, peeled by persistent greedy fingers as lips curl into a wince and eyes glitter with each discovery of a new patch. It hurts, but you just can’t stop.

Sometimes they were a crucible in which I became a better person than I was. Lined end to end like some Toastmaster speech, they paint a picture I can never deserve. In truth, they went off like flash grenades against the murky twilight of my childhood. In truth I failed almost every chance I got.

I stole—not just shoplifting, but anything that wasn’t nailed down. I stole from my parents, siphoning off a five here, a ten there, laundry quarters by the fistfuls, crawling into their room on hands and knees in the deep of night to rifle through their clothing while they slept—always meeting their accusations with wounded indignation. I stole from my friends as well. I ended one friendship by intercepting James’s mail and stealing his father’s adult magazines, and another by trying to break into J.P.’s house and take a BB gun. The only friends that stuck with me didn’t seem to care that their possessions would occasionally wind up in my room.

I snuck out at night and regularly committed what would probably be considered felony trespassing. Once I drove a caterpillar bulldozer that had had the keys left in it around a construction site until a weary graveyard security guard noticed me and a wild chase over the trenches and ridges of the construction site ensued. I broke into buildings, shattered fragile things I found there. Sometimes I broke into into empty homes, and once into a home that wasn’t empty at all.

I lit fires. Everywhere I could. I liked to watch things burn and change as the licks of orange and blue consumed them. I liked to destroy and feel the power of controlling the destruction. The brown chaparral of Calabasas would catch like tissue paper and become a high stakes game in seconds. I liked taking that risk. In that moment right before I started to panic, right when I wasn’t sure if I was going to get it under control this time, I felt risk and danger and control and out of control all at the same time.

The moments that calmed me were not the years of therapy I ended up in or some undefinable gradual transition. I remember them clearly, distinctly like pops of lucidity in the long twilight of a dream.

My junior crime spree ebbed when I came home in the arms of two police officers. I had shut off the power to a home and then gotten pinned behind a bush by a barking dog. I got out, but the owner had called the police who passed me half-way down the hill, where I moseyed along and tried to play it extra cool. I was good, but I wasn’t act-casual-at-three-in-the-morning-despite-being-thirteen good.


One, with a cliche mustache (which I’ve recently discovered is so cliche it’s called a copstache) mocked me for my tears and laughed heartily at the suggestion that there was no need to mention the whole affair to my parents. and the other told the first to give me a break. I was too young to care about much beyond how much trouble I was in, but I remember my mom’s face when she opened the door to their insistent knocks. She wasn’t angry. She wasn’t upset. (Those came later.) She was just so damned disappointed.

It’s not as if would never disappoint her again. I eloped. I came home Muslim and prayed for her atheist soul. I failed class after class in high school. I dropped out of college right before finals (upon receiving the news that she and my step-dad were divorcing, I simply shut down). That night in the arms of two police officers was far from the last horrible thing I did. It wasn’t even the last time I snuck out in the middle of the night. But it was the night I stopped feeling like I was out of control, even to myself. It was the last night I broke into buildings. It was the last night I randomly destroyed property. I stopped sneaking out two or three times a week. I stopped stealing just to see if I could. I never wanted to see my mother so chagrined again. I never again wanted to let her down so much.

I stopped lighting fires when I was fourteen. In Canyon Country, a blistering hot summer in August doesn’t just get up into triple digits, but can sometimes go over 110. My parent's first house had a little swamp cooler that tried its best, but there was no escaping the worst of the heat. I did anything I could to keep my mind off the fact that I was melting.

I had recently watched some movie where someone lit a trail of gasoline and the fire had lazily filled out the drawn symbol. So I decided to light up a gas line of my own because that looked pretty fucking awesome to see the blue slowly envelop the design.

My first experiment took place in the blazing hot garage of our little house. At somewhere upwards of 120 degrees, the smell of paint and turpentine cloyed at my nose. I decided my first experiment would be a line up the length of the garage that ended in a little splotch. I popped open the bright red gas can’s yellow top and drizzled out a line that ended in a splotch.

However, by the time I had finished up the splotchy part at the end, the line had already evaporated. Not wanting my awesome fire trail to be muted by failing to use enough—and noting that the show I’d watched had a gas line that was almost a standing puddle—I re-covered my lines, this time pouring liberally to make sure the line wouldn’t evaporate. Sloshing gas dribbled out over my hands and the gas can, but I wiped them down the legs of my thighs. I set the gas can down a few feet from the splotch and pulled out the strike anywhere match.

I knelt down a few centimeters from where the gas line started and dragged the match along the cement floor. It burst into a flame that just kept growing into a fireball.

Of course, now I know. How stupid the whole thing was. How dangerous it was. How the enclosed space and the other chemicals were working against me. How fumes are flammable. How wiping gasoline on my clothes before lighting a match was ridiculously foolhardy.

And how there’s nothing slow and meandering about gas igniting in real life.

I remember there was an orange flash across my retinas, a low WHUMP, and an instant smell of burning hair. Nothing “caught” fire. It was just that suddenly everything in the garage was burning. My hands, my jeans, one of the shelves with turpentine and paint on it, the cement floor in a pattern roughly like the one I’d drawn. But perhaps more alarming than all these things was that the fireball had jumped right back to the plastic gas can I’d left open, and it was burning around the edges of its bright yellow syphon.

To say that I panicked would be inaccurate. If anything my mind took hold of the moment with a strange sort of clarity. I was incredibly naive, foolishly worried more about getting into trouble than my own safety, and my decisions were abysmal, but I was calm, collected.

I walked quickly into the bathroom adjacent to the garage rubbing my hands along my thighs as I did so to put out the fires burning there. I could feel my skin reacting to the heat, starting to burn, but I gritted through the pain and kept moving quickly but deliberately.  I pulled a towel into the sink and turned the water on full blast. I rinsed my hands and patted off the last licking flames on my thighs. I filled my mouth before I left.  I walked back into the blaze of the garage to find that the cement had burned itself out and only the gas can and shelf were crackling away.

Between a mouth full of water and the wet towel, I got the fire out. First the gas can, and then the shelf. The calm clarity didn’t end with the fire being out, and I methodically set about removing evidence of what had happened. In the next few minutes I checked myself for anything worse than first degree burns, threw out the jeans I was wearing (wrapping them in a double layer of trash bags), and started to clean up the scorch mark. All with mechanical lack of emotion. It was only after the biggest of the blackened streaks had been removed that I realized how stupid I’d been not to just run and call for help.

I had walked back towards a burning gas can with nothing but a wet towel. I had stood over burning gasoline with a mouth full of water. There was no good reason I shouldn’t have come out of it horribly burned or worse. Instead a patch of slight numbness on my left leg is my only physical reminder.

Then I started to shake and the tears leapt into my eyes like white fire. I heard someone moaning and realized it was me.

That ended my fascination with fire. Whatever had happened in that garage, it was enough. I don’t know if I had won or lost—arguably neither; arguably both. It’s strange how many moments of such salient transition had that sort of ambiguity about them. I definitely found the limit of control and loss of control. Whatever itch I was trying to scratch, I had scratched it. My firebug days were over and except for a few camp fires and the like, I’ve never really lit one since.


My marriage really ended a month before I started slamming books and DVD’s into banker boxes with as much righteous indignation as I could muster. I decided I wasn’t going to live in a 900 square foot apartment “as just friends” in early December of 2005, but it was a cool night in November when it really ended. A few wayward crickets were singing, and an uncharacteristic calm gripped Oakland. We were coming home from a movie and having “big talks.” I was struggling to keep my marriage from falling apart, and my wife had developed an air of inevitable serenity about her.

“I will stay with you into the foreseeable future,” she said. “I’m just not foreseeing very far these days.”

Perhaps it would be more fair to say that my marriage ended in the months leading up to that night. The damage was done, the tumor inoperable; the injuries too extensive. The cool night in November was simply the opening act of our Kabuki theater where I struggled for a month like a fly in a web to keep everything from falling apart.

I had recently returned to college, and fall semester was a doozy. Sixteen units of algebra, spanish, English, and history as well as a tutoring job. Dishes piled up in the sink and the house fell into disarray while I struggled with papers, homework, reading and a part time work schedule. At first it was “I support you.” Then it was, “This won’t last forever.” By the end it was just a long sigh.

We were poly. It would be easy to blame being poly for why we broke up, but I have since been poly with a decade of success. It was much more complicated than that, yet it played a part. She was dating a guy named Mike. I was dating a woman named Lydia. Jealousy was like everything else: a force she denied exerted any gravitational pull on her at all—and resented the very sight of within me—until she broke down and admitted it was eating her alive, only to then deny that it was a real problem the next day when it threatened to validate some concern or another that she was moving awfully quickly with Mike.

On that November before a trip to Costco I asked her if anything was wrong and she got angry. “Do you think I wouldn’t tell you if something was wrong?” she said. “I need you to trust me. I can’t live under this suspicion.”

But something was wrong. As we left the check out line with a fresh supply of pot pies and microwavable taquitos, she paused. “So… I have a question,” she said.

By the time we pulled up to the curb outside our apartment, she was of the opinion that we could stay married for tax purposes if I wanted.

“So I was right?” I said.

“What do you mean?” she asked.

“That guilt trip about not trusting you. About how you’re just fine and my suspicion is unfounded. Christ you even got mad at me. What was that about?”

“Can we just drop it?”

I look back now across the gulf of more years than I was married and I know there were tender moments. I know I played my part. I know there were two sides. There are always two sides. But all I can remember is being told over and over again that nothing was wrong but then being right. My concerns repeatedly dismissed, sometimes with righteous indignation until she would break an awkward silence by confirming my suspicions. The memory of that duplicity (intended or unconscious) dominates my perception of the end of my marriage. It grows like gnarled vines over good times, my culpability, and reality alike. It chokes out the light and nothing can survive underneath its absolute canopy but the fetid mushrooms of my resentments.

I remember the way her eyes would roll and she would mock me. She would tell me my insecurity was making me unattractive. Then a few minutes later, “So…I have a question.”

That night, I had my own question.

“Is there anything I could do that might possibly save our marriage?” I asked that cool November night. It was thick and quiet. The moment was pregnant. She looked at me over a box of Costco provisions and licked her lips. A gentle breeze played with my hair and rustled the trees above our heads.

“I dunno. You could drop out of school and break up with Lydia, but let me go on seeing Mike.”

Only the crickets' song cut the still air. The freeway, a few miles from our apartment, sounded like the ocean from a distance–a soft hum, unnoticeable until everything else was absolutely silent.

My marriage ended. I tried to hold on, but like father and step-father she didn’t find me worth sticking around for. I couldn’t fix it, no matter how hard I tried. For a month, she acted out the role of a person who cared that her marriage was imploding, but she wasn’t very convincing, and nothing I did really mattered. In the end I stop trying. I stopped trying to avoid fights and instead jumped towards them. I let my anger consume me, I let it make me cold, and it settled low in my stomach, in an icy ball. I wrote nasty entries on Live Journal and hoped her friends would tell her about them. In the end I slammed books and DVD’s into boxes. She got the car, and I took everything else. I took things I didn’t even need. I was petty. Being petty felt good.

I did not like me very much during that time.

I stood up for myself. I stopped trying to make a relationship work that only I cared about. I stopped campaigning to be worthy of the office of her husband. I went right on studying algebra and English and Spanish and history. I went right on dating Lydia. Like the end of some Lifetime movie of the week (just with genders reversed), I would not let myself be a doormat. Despite the fact that I left a few days from finals—in a chilling echo of my parents own divorce and my first failed attempt at college—I sucked it up, nailed my finals and papers, and got straight A’s. I didn’t let the worst event of my life rattle my resolve. I was more than just a person not worth sticking around for. And for once I didn’t just stand up when someone else was in trouble. When someone will stand up for others but not themselves, it is the latter that feels heroic.

I was very proud of me.

It is absolutely possible to pass and fail at the same time. And not just Mr. Chaidez’s chemistry class.

[© 2014  All Rights Reserved]

Sunday, August 10, 2014

Social Justice Bard

Let me grab my lute and tell you about "the narrative."


For more social justice, check out Social Justice Metaphors

If you'd like to support me as a writer, there are multiple ways to do so, and I welcome that support as I have skyrocketing rent and insurance like everyone else, but PLEASE PLEASE PLEASE don't "fund" my social justice writing in a vacuum. That's not why I do it. I have my reasons for not being able to be a full-fledged "social justice advocate/activist/writer/warrior," and I refuse to be making a paycheck off of these struggles that are not mine. I'll do these Social Justice Bard posts no matter what. I promise. If the gestalt of my writing appeals, great, but if you only want to see more social justice posts, please donate to the causes themselves (BLM, SPLC, Planned Parenthood, Equality Now to name just a few) or writers–particularly women of color–who are writing about their own struggles.  Thank you.

Saturday, August 9, 2014

The Mailbox: What is My Problem With... (Part 2)

Return to Part 1  

Part two of a series of questions by folks who apparently lack the reading comprehension skills to find the answer to their own questions in the articles to which they are reacting.

Anonymous says:

My friend loves your blog (I don't know why), but frankly I took one look at your advice that writers have to write every day and I knew you were full of shit. Writing every day is a great way to burn out. Creativity doesn't work that way. You make something wonderful into a chore. The graveyard of writing is littered with the bones of those you've destroyed. You, sir, suck. 

You should take more than "one look" if you want to tell someone what their position on something is. I might even go as far as to suggest you read on into the second paragraph. You can just learn so much that way!

If only there were some sort of "rule" or "convention" or "understanding" or something that that it is generally foolish to attack someone for a position you assume they have without listening instead of the position they actually have.

That seems like such an idea would be useful. I lament.

Mr. Straw is also sad about this oversight.
I've never told anyone they have to write every day to be a writer. In fact, I think that sort of judgement about who's a "real" writer and who isn't is a bunch of supercilious snobbery. Any time I read something by an established writer who says: "Real writers do soandso," (unless soandso = write) I usually want to go Slapsgiving on them.

Real writers earn their "er."

That's it. End of story. There's no amount of time or kind of writing or type of inspiration or number of revisions. They just earn their er.

What I HAVE told people over and over and over and over and over again is that the writers with the careers you probably want to emulate are almost certainly writing every day, that daily writing will make you better, and that if you want to make job-like money doing writing, you probably have to actually treat it with job level dedication. There are plenty of writers (some even published) who don't write every day, but you've probably heard of very few of them.
Who thinks they're going to make gobs of money doing something once a month? Writers; that's who. 

Now I can't help it if you dreamed of being rich and famous by doing something for a few hours a month, and Meany McMeanface Chris came along and to harsh your fucking squee. I make no apologies for that. (It may even cause me the tiniest bit of sadistic glee, but I would never cop to it.) And it's also worth noting that being commercially successful as a writer (particularly in traditional publishing) may involve a good deal of privilege and things that a writer can't control–statistically being white, male, cis, or heterosexual each help a LOT (and all together are overwhelmingly advantageous). But of the things a writer can control, they will get further writing daily, and will probably not achieve the commercial success they crave without.

If you want to write once a week, great. If you want to write once a month, great. If you want to write only when you are inspired whether that hits you ten days straight or goes away for a year, fucking great. If that's what brings you joy and pleasure from writing, then that's all that matters. Just don't turn around and whinge about your stymied writing career or expect sympathy when your novel is rejected. Traditional publishing is hard to break into, but that's probably not why you were rejected.

As for your point about creativity: it does, in fact, work that way.

It works exactly that way.

*pulls out a megaphone*

*turns it on*

*gets a little feedback but figures it out*

*lifts it to his mouth*

*points it at you*

IT WORKS EXACTLY THAT WAY.

The problem is that people think creativity is some big mysterious force–the second cousin to genius–and that creatives are people with strange alien brains that can't be fathomed. The truth is they're just normal people who practice thinking creatively. Talk to writers, other artists, psychologists who study creativity, and they will all tell you the same thing. If you sit down at the same time every day to be creative, you will get better at it.

I have perhaps thirty comments [ETA it's more like five hundred now 7/21/17], private messages, and emails from people who have decided to try daily writing and have had their creativity unlocked. It's come gushing from wellsprings they didn't even think they had. You know what I don't have? A single, solitary message, e-mail or anything from someone who tried to write every day and found that it destroyed their creativity.

The only people who think that are the ones who haven't tried it yet.


Cecelia says:

Anyone who doesn't like NaNo is r*t*rd*d. (Guess what that makes you!?) Why do so many writers dislike Nano? I for one will be leading the charge against you and your ilk and combatting the bile you spill. My Nano book from this year is under review by three publishers right now. When I'm a famous writer, I'll send you a copy.

My reply:

You do that.

As much as I would love to literally type all this out again, I have already answered basically this exact questionMore than once. And it's not as if I haven't made my problems with NaNoWriMo crystal clear.

Yeah, I could write out another version of, "I think it is useful but dangerous to young writers." I could point out that even IN YOUR FUCKING QUESTION you have apparently realized that established and serious writers tend toward a sort of collective opinion from "so many writers" about NaNo. I could suggest that maybe they know something that you don't and you might pay closer attention to their umbrage. However, seeing as you were a spiteful little troll with your comment, I'd rather say this:

The word you used in your message is a slur and you shouldn't use it.


Hollie asks:

Seriously what the fuck your problem with camps and classes? You sound like one of those stuck up assholes who think there's only one way to write. I get so much work done at camps and classes with someone lighting a fire under me to write, and I have professionals look at my work and give me feedback. It's awesome and fun. You are a fucknoodle if you steer people away. Fucknoodle.

My reply:

Yeah, I'm a big stickler on how there's only one way to write.

Oh wait...no I'm not.

This is why I don't usually even respond to hate mail that has so obviously been written by someone who is bent on completely ignoring the context of whatever little snippet they want to take umbrage with. Now I'm going to end up walking around the house for a month calling everything that sucks "fucknoodle."

(My dedication to Blogust is profound!)

I don't have a "problem" with camps and classes. I just don't mind saying how non-essential they are to a writer's success. As long as there have been arts, there have been art camps and classes. And as long as there have been art camps and classes, many of the artists actually doing the arts of said camps and classes have been pointing out that they aren't really necessary and might be trying to separate you from your money.

I'm not personally saying these camps and classes are rip offs, but I do think their utility should be acknowledged. And I have a pretty big problem with the whole "Look at me going to this class/camp. Look how much of a 'real' writer I am!" mentality that springs up around them.

If you like camps and classes, go fucking enjoy camps and classes. Knock your silly ass out on that shit. Don't let some two half bit blogger tell you how to have a good time. Enjoy the fresh air and the scenic vistas. Get your wordsmith on and partake in the talks and hikes and morning granola and commune with a squirrel and whatever else you want to do.

But let me go out on a limb here and guess that you spend somewhere between 500-1300 dollars (depending on the cabin you will be in) for a three or four day weekend (that usually breaks down to two half days and two full days in reality). I won't name names because I've friends heavily into this scene, but I happen to know that's the going rate for the most popular local writing camp. With writing classes, you are probably getting between six and eight weeks of two hour classes for roughly the same (somewhere between $500-$1000).

That's not an insignificant amount of money to....well....most people on Earth.

The question for the writer to ask themselves isn't "are they fun?" or "will I write?" But more questions like, "Could I get more direct feedback (for less money) just by hiring a professional editor for three or four hours?"

If you have a grand to blow, more power to you. There are worse things you could do for your writing than to take a class or a camp. Truly. But it gets weirder when just going to such a camp is kind of considered a status symbol or a claim to legitimacy among writers. Then writers who maybe don't have that kind of money to just drop start thinking it's important for their development as writers and they better scrape up a thousand bucks and figure out who can take the kids for four days. They pay for the camp or class like they're passing a kidney stone, and then wonder at what they're getting for it.

If camps and classes were a necessary evil, and every writer who ever published had done a few, I would gladly let you know. ("Hey. Just part of the cost of doing business, brah!") But most writers, as I've said, kind of think they're good for the people making the money, and not super useful for the writers spending said money.

I'll close this whole article with this thought, and I'm actually glad you brought it up. The reason so many people like camps and classes and NaNoWriMo, and MFA's is because someone is there to, as you've said, light a fire under them.

I get that. I do. But it's like training wheels on a bike.

At some point, any writer who is serious about writing (and not just a casual hobbyist) absolutely must learn to provide this fire for themselves. Eventually the MFA, the camp, the class, the whatever will end and leave the writer back where they started. You have to learn to sit down and do the work under your own motivational power. Even at minimum wage, hiring someone to essentially tell you "you should be writing" becomes prohibitively expensive and probably not conducive to your long term goals of actually making money via your craft.

Try just looking at this a lot.

Friday, August 8, 2014

The Mailbox: What Is My Problem With.... (Part 1)


What is your problem with MFA's/ Literary Events/ Not Writing Every Day/ NaNoWriMo/ Camps Classes? 


[Remember, keep sending in your questions to chris.brecheen@gmail.com with the subject line "W.A.W. Mailbox" and I will answer each Friday.  I will use your first name ONLY unless you tell me explicitly that you'd like me to use your full name or you would prefer to remain anonymous.  My comment policy also may mean one of your comments ends up in the mailbox. I can't promise not to mock you if your obviously trolling question asks about things I've already explained.]  

Our Blogust Hate-Mail-a-Thon continues with a bunch of people who apparently lack the reading comprehension skills to answer their own questions. Even though all of these questions usually have answers in the exact articles the people are reacting to, I will be answering them. Because hate mail.

Matt asks:

Okay have you ever actually been through an MFA writing program. You are awfully judgey about something you haven't experienced. So what if it's not the most useful degree or I'm not published yet?

My reply:

Jesus Matt, I'd be okay if it were the hundredth most useful degree. This isn't about some close-but-no-cigar rank of awesomeness. I literally know people in charge of hiring who would rather have simple post-grads than MFA's because at least "they'll be less pretentious." The creative writing MFA is so well known for having almost no utility (beyond opening the door to teaching other creative writing MFA's) that it is regularly compared to a ponzi scheme.

Most MFA graduates will never make $50,000 from creative writing. (In fact, most will never make 5% of that amount.) Of course the pedagogy of the MFA is pretty solidly in the "we're not about the money" camp.

Think about that for a second.

How many advanced degrees out there do you know of that are almost proud of the fact that they will never pay for themselves with the skill set they teach?

This is the very reason at most rigorous schools the MFA has been replaced with a lit-heavy MA program in writing. At least then the student walks out with a Masters in English.

WHERE DO I SIGN?????
I haven't been through a masters level writing program, but I did sit next to masters students in my undergrad creative writing program. They were sitting next to me. They had more work, but we were taking the same classes. I know they got some more intense craft classes, though they often shared that the lack of formal structure in their workshops made them arguably worse than the undergrads'.

More to the point, I don't need to experience everything to trust the feedback of thousands. I also haven't been eviscerated, smelled Naples in the blistering summer after the mafia took a few months off, or had my testicles crushed by a bowling ball, but I'm pretty sure I don't have to experience them to know they wouldn't be pleasant.

Especially that bowling ball thing. That hurt just to write.

Here's the thing that maybe you forgot, Matt. When MFA's in Creative Writing finish up, they have this skill called writing creatively. Combine that with my ability to read, and whole worlds open up of empathetic experience. So I read what dozens, perhaps hundreds of MFA graduates think of their experience. They write about how much time they wasted in vivid, sensual detail. They write with concrete language about how useless the whole experience was. With beautiful turns of phrase and brilliantly rendered emotions, they make me feel as if I were right there with them going fifty grand into debt.

You can even play the home version of my game. Google "Creative Writing MFA's" and spend an afternoon reading (the same way I did). Or, if you don't want to shlep through the losers, go straight to published authors. At any point in time the New York Times bestseller list is about 1/3 to 1/2 MFA's (which means over half of the best selling published writers never got one). Further, if you ask those writers about their MFA's most of them have some pretty disparaging things to say about the role their MFA played in their success.

It's not that MFA's are useless or won't help people learn to write. They're not and they will. It's just that they're expensive and they have a risk vs. reward that should be considered carefully instead of casually as the "I don't know what else to do next" step.

For those who have $50,000 dollars burning a hole in their pocket or are just fine with 15 years of student loans, who aren't doing anything for the next three years, and who appreciate the "high art"/no genre aesthetic that most MFA's will enforce, it is a personal decision. I have a friend who says it's the best thing she ever did and writes gorgeously every time in part thanks to her MFA. I have another friend who cursed the fact that she got the same job she would have without it, and she could have been four years further along in her career, debt free, and looking at houses with her husband by now. Finding yourself, growing as a writer and a person, having close critical examination of your work, and discovering your inner voice is great (I mean that; it really is), but 50k is an awfully big price tag.

For people without the financial advantage to be so cavalier, it's tough to justify a degree whose most ostensibly useful moments could be reproduced by attending authors' readings, finding a sincere and dedicated writing group, spending a few grand on a professional editor, spending about 48 hours all told doing research online, and then just doing it.

My problem with MFA's isn't people who like them or who know what they're getting into. As I've said again and again, my problem with MFA's is that for most writers who just want to be published novelists it is not as useful as applying butt to chair and just doing it. People who are too timid to just do it or don't know that their career trajectory is probably going to be ten years to a decent paycheck think of an MFA as "the next logical step." And for a lot of people in a lot of situations, it isn't logical at all.


"Dan" says: 

I go to literary events all the time[,] loser. You should stop being such an elitist cocksucker and mingle with the plebs. You don't even know what you're missing! They're a great place to hook up with lit sluts. 

My reply:

Where do I even begin? At least you used the right "they're."

The sum and substance of my negativity towards literary events is as follows. A) They're not my scene. B) They usually cost writers money. C) No writer (that I'm aware of) ever said it was the literary events that made them.

It's not as if I've never been. We often had to go to them or got extra credit for it when I was in my creative writing program, and a good 20% of my friends are writers, so if we're all getting together on a Friday, I pretty much know where we're going to end up.

So I've been. It's not some big unknown mystery. I know that there's a lot of people, a lot of drinking, and a lot of talking into a microphone. I'm a visual processor with A.D.D. I have a very hard time if I can't see the words I'm hearing. I always had to take copious notes in college when I had professors who just liked to talk. I don't really drink. I don't like crowds.

Can you see where this is going?

If they're your thing, that's great. You should lit-event it up. Some of the people I went through my creative writing program with love literary events, and to them I would say "You should go. It'll be a hoot that might inspire you." I even have one colleague who helps coordinate a local series. They're just not my thing. (Neither is using homophobic slurs as pejoratives, for the record.)

If you are on your way out to have a couple of drinks anyway, literary events are a lot of fun. But look around, Dan. The people in that room have spent $15-20 on drinks, maybe a $5-10 cover charge for the event. Maybe the speakers get a drink comped or sell a copy of their book, but chances are the event probably costs them money. It certainly costs money to every writer in the audience.

(And just so you know, it is considered very VERY uncouth to only go to literary events when you are performing unless you have been solicited as the keynote reader. That's a major no no. You have to go as a viewer more often than not. So you will end up in the audience, spending money, most of the time.)

The venue owner probably has a big smile on their face, and maybe someone in charge of a coordinating and promoting regular events is scraping out a paycheck, but all the writers are probably spending money.

Even the free events that happen in bookstores are usually about getting a bunch of bibliophiles into a bookstore. It's usually pretty good for the bookstore.

If this were a vital step on the way to being a recognized writer, I'd be the first to let you know. I've read hundreds of books on writing and thousands of quotes, and here's something you just don't see big time writers say: "Go to literary events. They will help launch your career."

It's just not something they say.

Instead most of them talk about how literary events can be one of the distractions that writers face instead of just writing. Some writers get wrapped up in their "networking" and "connections" and end up in bars listening to people read more than they actually write. That's no good.

So you should go get your drink on if you want to go get your drink on, but don't act like it's clearly the next step in your catapult to fame and fortune.

But now I can add one more reason not to want to go to literary events. I might see you there.


Part 2--Nano, Classes and Camps, and Writing Every Day

Thursday, August 7, 2014

R&R

Supportive Girlfriend (or was it Unsupportive Girlfriend?) told me that I have to take some time off. I'm not allowed to shatter my health, my will to live, or my sunny fucking disposition. I started to explain about "Blogust," and how I needed to make 1650 hits a day or we weren't going to make it and how we were already over two thousand page views behind, but she kind of did this thing where she transformed into her version of Psychogaladrial, and told me to take time off or she would become as terrible as the dawn.

I don't even know what that means. I find dawns rather calming. But I was not about to point this out, however.

I already love her and despair.  What more does she want?

Silly Girlfriend, I don't really get days "off" anymore. The Contrarian is about to learn to crawl. Superheroes are terrible at cleaning up after themselves so there's always a mess at The Hall of Rectitude. I write every day even if I'm not specifically blogging. But what I can do is use today to work on some things I've been putting off (and maybe use the extra time to do a load of clothes and mop the floors--because that's JUST like a day off, right?) So today I'm going to update some of my links and menus and pretend I'm not really working so that she doesn't kill me.

So here are some sundry items:

I've been meaning to point you all towards a blog and a book that I have added to the Folks Worth Checking Out menu. The writer is a friend's father and he's been diagnosed with leukemia with a low chance of survival.  Selling the book he'd written was always on his bucket list, and he seemed out of time to wait on traditional publishing, so he took his dream into his own hands. (Good for him! Traditional publishing has some serious problems even if you DO have the time to wait.)  His book, Swallow The Sky is available through Kindle. I don't know much about it other than that it's a space opera. (There was some confusion with the friend in question about getting a free copy but I finally just bought one today since it's so inexpensive.)  If you want to know more about it or him, you should check out his blog. The book is only three dollars and there are free chapters if you want to see what you're getting into.

I will resist really playing that cancer card by telling you how the optimism from getting to see his dream come to life has helped him through the first round of chemo. (ETA-I hear he's up to about a 2/3 prognosis now!) I certainly wouldn't mention that and then reiterate that it's only THREE dollars, and you get a book you might end up enjoying. Nope. Totally not going to be that manipulative.

OG has gone back to her monastery in the land of salsa and omelets. But her influence lives on and apparently when she "walks the wind" she can move pretty quickly and is never too far away from Oakland in spirit. So she has been added to the Cast and Crew officially.

I'll also be taking time to update a few lists and menus that have been falling into disrepair, and finishing up this stack of thank you notes that has actually GROWN in the past few days. Plus tomorrow's hate mail is going to be epic, and I'm trying to get some really good articles whipped up this weekend.

Wednesday, August 6, 2014

Love a Writer Today!

That's The Contrarian taking his morning nap in the carrier.
He assured me he wasn't tired ("I am not!") right up until he passed out.
If you want to love Writing About Writing and it's short-haired but adorable writer, I'm here to tell you a few tips on how to make them smile.

Hi everybody!!

Chris here.  I hope you're having a wonderful hump day filled with humping the hell out of someone, even if it's just yourself. (If you're into that sort of thing, of course. I wouldn't want you to hump yourself without your consent just because it's Wednesday. That's just not cool.)

We have a lot of great posts in the works right now.  The latest part of A Demon's Rubicon will likely be up this week or early next, and this weekend you can expect the first part of a short series about starting your own blog. Friday's hate mail is going to be a doozy.

Today, however, I'm taking a quick moment out to tell you how you can help. Because, frankly, Blogust isn't going so well.

It is a tragic turn of events.
Do not even attempt to contain your tears.
Okay, that's not exactly true. Blogust is actually going quite well.

So...we're okay then?  
The numbers are absolutely fantastic, but they're nowhere near what we would need to reach 50,000

So wait, how should I feel?
I don't know how to feel!
So what can you do to help Writing About Writing hit it's (admittedly insanely overambitious) goals and make this:

Turn into this:


Seeming non sequitur that isn't: I got an e-mail this week from my boss. She told me that they have another class on Monday nights that I could teach. I'm already teaching one on Wednesday. Normally I would have to take at least two classes to keep up with the sundry things that aren't covered by cleaning The Hall of Rectitude. This semester I was able to tell her that I was okay. That is because of all of you. I have been able to drop to part time and put up more articles each week. It really does make a difference. 

I always feel a little weird and dirty writing these posts. And most of the time I'm pointing towards the Paypal donation button and clearing my throat, not just hoping you'll help me with some promotion. But self-promotion has to be shameless. The myth of the writer who doesn't need money and is too good to ever have to ask for it not only isn't true, but it never really was. I'm very serious when I say I can't do it without you. I don't have the social media reach. I'm using every trick I know, and still coming up about 400 short a day. 

Blogust's success depends on all of you.

I will draw the line at simply telling you how you can help.  I'm not begging. Not demanding. Not guilt tripping. Not posting pictures of starving kids from developing nation and telling you that only you can help them beat the dysentery. I don't want to turn this into the last ten minutes of a 700 Club episode (though if you listen to NPR, you know that pledge week is ten times worse.) I will simply tell you how you can help if you are so inclined. 

Share an older article you liked.

One article. 

Not this article. I mean one of my good ones from the past. Something that you really enjoyed. Maybe something I haven't reshared in a while. You all have friends I don't have. You all know people who might like stuff that I simply can't reach. Every time one of you has shared an article it has gotten lots of new traffic.

If you look over to the right side you can see my top ten articles of all time. If the article you want isn't there, you can use the text box at the top right to search (just Writing About Writing) for the article you want. You can also go to The Reliquary if you have an idea of the category of article you'd like to share but aren't sure about the rest.  

An old mailbox (even a hate mail) you really liked? One of my prompts that you loved? Do you have an old favorite Leela Bruce or Guy Goodman guest blog? Or maybe you prefer when I write about "that feminist crap."

Even one article will help. The share buttons are down at the bottom of every single article. All you have to do is click once. Easy peasy.

Thank you. I'm sorry that modern self-promotion is a little skeevy and pimptacular. You are all wonderful.

Tuesday, August 5, 2014

August Poll Write Ins: Best Multi-Author Book


What is the best book with more than one author?

Good Omens? The Talisman? Dragons of Autumn Twilight?Some authors just work better as part of a collaboration. Write in now so you don't have to say "This poll is incomplete without Suchandsuch!" when it goes live.

This month we're going to be nominating co-authored books. Any genre is game. 

The rules:

1- All books must have two or more authors.

2- Let's stick to fiction. Non-fiction is often a collaboration of multiple authors and that would open up far too many books.

3- You may nominate two (2) books. (If you nominate more than two books, I take your first two nominations and ignore the rest cause I'm a fucka mean tyrant who insists you have reading comprehension and follow rules and shit.)

4- If you feel as if a series of books deserves a nod rather than an individual work (like the Dragonlance Chronicles, for example) you may nominate the series as a single consideration, however both authors must have collaborated on all the books rather than one author starting a series and another author finishing it (as we see in some of the legacy series like Dune or Wheel of Time). 

5- You can second as many nominations as you like, and in fact, you should. We haven't had a poll in the last year where the final names for the poll didn't at least have one second each. So check back and see what your fellow readers have offered up that you'd like to see go on to the poll.

Please don't forget to make your nomination as a comment on this post rather than as a reply on the social media where I cross post the blog. I'll take them from any medium, but you are much less likely to get a second if you just reply to this on G+ or Facebook.