I’ve mentioned before that because of my father’s work in the petroleum industry my childhood included 10 elementary schools across four states. Toward the end of my elementary school years, my dad got promoted to what was essentially a regional manager type position, and we were able to move back to the tiny town where I was born (And at the time where my paternal grandparents and maternal great-grandparents lived).
In the first week of seventh grade I tried to explore the school library, and found that it was open during limited hours (the librarian worked at the elementary school and the high school as well as the middle school, so was in on only certain days). I also found out that the school library only let you check out one book at a time unless a teacher signed a request that you needed additional books for a class project. The first time I was able to go in and check out a book, I did what I always did when finding a new library: I went looking for my favorite authors. I found an anthology of Ray Bradbury stories.
Which I read all the way through before the next day, but I think I had to wait two days to check it back in and get another. It was while I was checking it in that the librarian asked me how I liked the stories in the book. And then she asked about some other authors I liked, and during the course of the conversation asked if I had ever read anything by Fritz Leiber. I said I thought I had read some of his stories, but wasn’t sure. She led me to a shelf and pulled out a collection of stories about Fafhrd and the Gray Mouser. I think it was the volume Swords Against Death, but I’m not certain.
When I brought back the Fafhrd and Gray Mouser book, she recommended the anthology, Warlocks and Warriors edited by L. Sprague de Camp, which contained one of the Fafhrd and Gray Mouser stories I’d already read, but also contained “The Black God’s Kiss” by C.L. Moore, which introduced me to another great sword & sorcery protagnist, Jirel of Joiry.
Over the course of the next few months, with that librarian’s help, I read every single science fiction and fantasy book in the school library. Which would have left me sad, except that the town had a much more well-stocked public library.
The first visit to that library had been with my mother and younger sister, and Mom had commented on how much bigger and modern looking it was than the same town’s library had been when I was a baby. The library that Mom had checked out all of those Heinlein, Bradbury, Norton, and Christie (mom was a mystery fan as well as a sci fi fan) that she read to me as an infant.
Anyway, the public library had a much larger collection and they acquired books much more often than the school library had. And they allowed you to check out more than one book at a time and were open a lot more hours (having multiple full-time librarians, unlike the school district). That library had a lot to do with the fact that I read at least one book every day throughout seventh and eighth grade.
It was from that library that I read a rather large number of books by Madeleine L’Engle. I’d been a L’Engle fan since I had gotten a copy of A Wrinkle in Time from the Scholastic Book Club in about third grade. But hadn’t found many other books by her until that public library.
One day I came into the library to drop off books I had read intending to browse for new ones, but the librarian at the desk said (with a twinkle in her eye), “You should go check out the new acquisitions display.” They periodically put up the dust covers of recently acquired books along with some extra information about the author or if it was part of a series typed up on an index card. There would also frequently be bright pink cards next to the index card saying, “Currently checked out — ask to be put on the reserve list!”
Anyway, I got to the display and started scanning the books when Madeleine L’Engle’s name jumped out at me. And the title was one I didn’t recognize, A Wind in the Door. The little index card said something like, “The long awaited sequel to -A Wrinkle in Time-!” Joy started to bubble up in me… and then I saw that dreaded pink card.
“Someone’s checked it out already?” I don’t think I actually wailed, but you know, I was only 12 or 13 (I don’t know which month of 1973 the book came out, and now if you didn’t know how much of an old man I am, now you do) and a book I didn’t even know I’d been waiting for had just come out but I couldn’t read it yet!
The librarian didn’t scold me for being too loud. Instead she said, “Oh, yes! One of our best customers has already checked it out!” She made a dramatic show of looking through some papers… and then she read out my name.
The Head Librarian had already checked it out in my name, and she and the other librarians had cooked up the idea of sending me to the display and so forth. I found out later there had been a bet as to which one of them would get to spring that act on me.
So there it was, behind the counter, and I got to be the first one to read it.
Many other librarians helped me discover fabulous science fiction and fantasy works, not just the ones mentioned above. And I owe all of them a ton of gratitude.
I’m not saying that it’s wrong to plan out your plot or to chart your character arcs. I’m also not saying not to do research. What I am saying is that making art isn’t about re-hashing what you already know and assembling it into a perfectly constructed package. When I was a kid trying to write adventure stories I didn’t know what it was like to pilot a rocket ship to another planet. I didn’t know what it felt like to face a dragon armed with a shield and a magic sword. But I wanted to know what that felt like. So I imagined it and tried to write it. And I would go to the library with a list of things to look up in the card catalog. Yes, at ten years old I was tracking down books on piloting planes and about fighter pilots (because I knew most of our astronauts at the time had been military pilots), and bringing home books about sword-making and astronomy and geology and so on.
One of the reason I usually had at least two stories in progress back then was because when I hit a point where I didn’t know how something worked that I needed my characters to do next (that I couldn’t figure out from the set of encyclopedias we owned and would require a library trip), I could pull the page out of the typewriter, set it aside with the rest of story A, and pick up story B. It was really frustrating if I had a snag in both. I would usually wind up picking up one of my fictions books (or going to the bookcase in the living room and see if any of my parents’ current fiction choices looked interesting) and reading until I thought of something to do with one of stopped stories.
One of my favorite parts about moving back when I was 12 to the small town where I’d been born was that the library was close enough to our house that I could hop on my bicycle and ride to the library any time it was open. So I didn’t get stuck on those insurmountable snags nearly as often.
The only limit to your writing should be your imagination. Yes, you will need to do research from time to time. Research isn’t just about going to the library or browsing the internet. You will be amazed how many experts in things are willing to talk to you if you ask politely. I got a tour of the county morgue just by calling and saying I was trying to write a murder mystery and didn’t want to just copy things I’d seen on TV. And the most fascinating thing about that was a nice long talk I had with an investigator that wasn’t about the process of an autopsy, but rather about the steps they go through to locate next of kin and gather information at the scene. Particularly heartbreaking from this investigator: he had a bundle of file folders of John and Jane Doughs (several of them teen-agers) that he was determined to identify before he retired. They’d been buried in anonymous graves. As he said, “All of them had to have been loved by someone sometime. They deserve a name and to be properly mourned.” I went in thinking I was going to learn how to describe an actual autopsy accurately, and came out with much more.
Also, you want to be careful when you portray people and events from cultures other than your own (More research! Find more people willing to answer your questions!). But again, your imagination is the limit, not just your own lived experiences.
Don’t settle for what you know now: ask yourself what you want to know, and go write it!
I’d come home from work, load up the car, drive to new place, unload the car, then possibly do a couple of small things before driving back. While I was out Michael would be packing more boxes. Once I got home I would usually start packing, too. Sometimes I would simply load up the car and drive up again. Then the next weekend it was multiple trips every day again. Until the day of the big move, and we started sleeping at the new place. Then my routine became come home from work, hop in the car and drive back to the old place to pack more little things and/or clean. And so on. Thus did the once familiar and happy-making route become a dreaded chore.
We managed to take at least one night off each week. One night where each of us came home from work and did virtually no packing and there was absolutely no driving back and forth. I didn’t always skip any and all moving activity on the night off. Just not having to spend that time—nearly on hour—in transit was quite a relief.
A couple of weekends ago, when I said to some friends how much I was looking forward to the weekend that I knew would arrive eventually when I didn’t have to drive that route again and again, one friend shuddered and said, “Oh! I know that feeling. Believe me!”
It isn’t fun… Read More…