I have been working on a couple of posts (on various not-related sf/f things) that keep not gelling. I was working on one such post while also starting to feel drowsy and decided it was close enough to bed time that I should just pack it in. I fell asleep really quickly. I half-expected to dream about the post I had been wrestling with. Instead I had about six dreams that were all variations of the same story. Most of the dreams weren’t about me, though I and Michael were supporting characters in one variant of the story. And while processing this (and waiting for my coffee to perk), I realized that there was a piece of writing advice I have repeated (and sometimes expounded upon) which my be useful to revisit and reconsider.
Before I jump into that, one weird digression. I saw recently on one of the social media platforms a question: When you dream is it like you are inside the story reacting to whats happening to you, or is it more like you are watching a movie about something happening to you? And I wanted to answer, “Those two choice assume that my dreams are always about me.” Because sometimes my dreams are, indeed, like an immersive experience, and other times as if I’m watching a movie or play… but I don’t always dream that I am me. And in all six of the ones that led to this post, the main character/who I was wasn’t Gene, at all. And in most of them none of the other people were anyone I know in real life.
When I was in school, I had more than one teacher covering English or Literature make the assertion that there are only four plots: person vs person, person vs nature, person vs themself, and person vs society. I wasn’t the only member of the class who didn’t quite buy it—when we came up with counter-examples, the teacher would find a way to shoehorn it into one of the four. In the years since I have seen it much more common for folks to list seven plots… the problem is, I’ve seen at least four variants of the list seven which don’t map to each other very well. Which is probably why other people have written books about the 20-something or 30-something fundamental dramatic situations you can build a story from. And so on.
All the dreams I had that night were variants of: being taken to meet the parents. And specifically, being taken to meet the parents who are not yet comfortable with their child being queer.
I know one reason that my sleeping brain easily cooked up six very different versions of that story is, in part, because being a queer person myself I have (in addition to having some personal experiences with the situation) listened to, read, or watched many, many, many variations of that basic situation.
And that’s the point of the Lauren Beukes quote above: what makes a story is the execution, not the plot.
Which brings me to the piece of writing advice I talked about earlier. It has been observed many times that every person is the protagonist of their own story. Therefore, it is useful for the writer to keep the motivations of all of the characters in a story in mind. If you write yourself into a corner, the advice goes, try re-writing some of your scenes from the point-of-view of another character. In a novel-length story if you find yourself needing a subplot to intercut with the main plot, a great source of sub-plots is to pick some supporting characters and ask what is going on in their lives off screen.
And that’s good advice.
But it may also help to actively invert the usual advice. Everyone is the protagonist of their own story… but also everyone is the supporting character or villain of someone else’s story. That might seem to be implied when someone advises that you re-write scenes from other character’s viewpoints to look for ways to move your plot forward, but I’m not sure we all actively think about it that way.
Especially about your hero. Sure, you know that your protagonist is the villain in your antagonist’s story… but is there anyone else who see your protagonist as an irritant, or a burden, or an obstacle… or maybe a villain, just in a different way than your antagonist does?
And in which of the supporting and otherwise background cast of your main story is your protagonist a supporting player, or even merely a superluminary? If you can’t imagine who might look at them this way, maybe you haven’t made your protagonist as well-rounded as you think?
It’s worth thinking about, at least!
I used to sometimes write April Fool’s posts. My rules were 1) that the joke couldn’t be something that would alarm people if they didn’t realize it was a joke, 2) the butt of the joke always had to be me, 3) nothing related to any disaster or illness or danger to anyone.
But even when I tried to stick to those rules, a couple of times one friend or another wouldn’t realize it was a joke right away and sometimes read something between the lines.
With the world in the middle of a deadly pandemic, with a President fond of spouting false information (and who is more concerned with the TV ratings of his press conferences than the thousands of severely ill citizens), this really isn’t a time to write parodies or satires of current events.
So, no jokes from me. No linking to any parody articles. It’s Wednesday. It happens to be the first day of the fourth month of the year. Which happens to be the day that a writing activity I often participates starts.
Therefore, I wanna talk about Camp NaNoWriMo. That’s right! It’s April, and that means an opportunity to do a writing project with the help, encouragement, and maybe even a little competition with friends near and far!
The non-profit that organizes National Novel Writing Month every November also sponsors two related events, one in April and one in July, called Camp NaNoWriMo. You set your own word count goal, can set up writing groups so you and your writing buddies can cheer each other on, and so forth.
With the goals being self-defined, one might wonder what the point is. I like having the expectation that I’ll publish my word-count (or number of words revised, or whatever) regularly. It is fun having a few people to watching and available to commiserate with, as well.
My previous forays at Camp NaNo have met with varying degree of success. This time around I mostly just need something to motivate me to work on my fiction at all. I’ve been quite bad at it. The last thing that I set out and finished was the Christmas Ghost story.
In these trying times, lots of people turn to the arts (if you’re binge watching shows on line, catching up on those audio books you’ve been meaning to get to, et cetera to get through a shelter-in-place or related ordered lockdown, you’re turning to the arts) in times of crisis. And so some of us should try to make more art, as well.
Wanna give it a whirl?
Interior: Gene’s mind, wee small hours of Saturday morning.
I’m dreaming. I’m hanging out with a friend who died not quite two years ago.
We have a lovely talk about things I’m writing now, people we both care about, things I’m worrying about.
We went for a long walk in a lovely wooded area.
We stopped to sit somewhere and look at the view. One of my favorite pencils is sitting on a table. Along with a bunch of very small slips of paper.
I start writing. I write an entire… something. A scene? A story? I’m not sure.
I look up.
I tell her it’s all finished. Then I look down, and see that all of the slips of paper covered with my writing are in a small box, but all jumbled.
“You’ll have to put them back into order,” she says.
“I can do that now,” I say. I look back up.
She’s standing again. In different, but still comfy clothes. “Yes, but not here,” she says. She points into the woods. “I’m going this way.” She points behind me. “You’re going that way.”
I look, and there is an ordinary road. One I sort of recognize. It looks a bit like the winding road down a hill that I used to drive on a lot when I was a teen-ager. I had three different friends who lived on the hill above the town we all attended school in, back then.
There is a car. It has one of the Lyft light things in the front. There is a driver, but I can’t really see him.
“But I don’t want to go back,” I say.
“I’m going this way,” she repeats. “You’re going that way.”
And I can see down at the bottom of the road home: my home, now. Where Michael and all of our friends are waiting.
“Oh,” I say.
And I wake up.
(My subconscious is never subtle, you know?)
But how will the reader know that they are really evil? Or, maybe shortcuts have no place in your writing
I had no trouble believing this anecdote, because I have gotten into more than one argument over the years with people (almost always cisheterosexual men) insisting that just because a character in a particular movie or television series or book raped someone, it doesn’t mean that he’s bad.
What’s most appalling about the anecdote is that a really large number of men think that kicking a puppy is ten-thousand times more evil than sexually assaulting a woman.
But on a less intense level, it’s also pathetic that a number of movies and stories without any rape at all have chosen to show the villain kicking or shooting or otherwise attacking a dog/puppy just to drive home the point that this character is really, really evil. It isn’t just dogs. In the original Terminator, for example, one of the ways the director hammers home that the titular character is a heartless killer is to show a close up of the robot callously stepping on a child’s toy, destroying it.
Puppies and toys aren’t the only kind of shorthand which lazy writers have used to indicator a character is not just a bad person, but despicably, unredeemably bad. One of the other ways that has been used a lot is queer-coding of villains. Queer-coding is where certain behaviors, mannerisms, or means of talking that hint that the character isn’t heterosexual (or possibly not cisgender). It frequently has been used with villains. People often point to villainous characters in Disney films (Jafar, Ursula, Scar) but it’s been around longer than that. Alfred Hitchcock’s movie, Rope is a frequently cited example.
And some works don’t even bother with coding. For instance, Frank Herbert’s novel, Dune, (and the sequels) explicitly depicts the most depraved and evil characters as gay. There is one character who slowly develops bisexual curiosity as she is corrupted, and then goes full queer as her moral corruption reaches its pinnacle.
Full disclosure: I didn’t even notice the correlation between queerness and evil in the Dune books (which I have loved since my early teens), until someone pointed out to me in my mid-to-late-twenties that I, a queer writer, was doing the same thing in stories I was writing at the time. It’s a pervasive culture notion, coming out of the homophobic belief that simply being non-heterosexual is a deep moral failing.
Queer-coding and overt queer-villaining still happen, but more people (and not just queer people) in the audience are willing to speak up and object when it happens. But the sort of writers/directors/et al who feel they need to hammer the depravity of their characters home seem to have switched to a new shorthand: incest.
In my review of a recent episode of Star Trek: Picard I blamed Game of Thrones for this problem. I stand by my explicit statement (as well as the implicit one) that the series (television and books) commits a huge number of literary and ethical sins, but I do have to admit that the encroachment of the incest meme as shorthand for very evil goes back further than that. In Cora Buhlert’s review of the same episode of Picard she points out the incest=villain trope goes back at least to 1974’s movie, Chinatown.
And obviously incest has been mentioned in fiction and folklore for a long time, including the Greek story of Oedipus, Arthurian legend (Mordred sometimes being depicted as the product of an incestuous tryst between Arthur and his sister or half—sister), and more than a few times in the Old Testatment. Though it is worth mentioning that one of the times it happens in the Old Testament the narrative is less than condemning of it.
But in most of those tales the incest plays out as a tragedy. Real life incest is also almost always tragic (since most often it is part of an abusive relationship). So, I’m not saying that incest should be off-limits in narrative fiction, because real human failings are fair game for your fictional works. I’m just annoyed that it seems recently that it’s being thrown in as a lazy way to show that a character is particularly twistedly evil. And it’s not necessary.
You can show the character doing evil things. Physically choking her subordinate tells me plenty about the character of the evil sister of the Hot Romulan, for instance. Sending death squads after people shows us that the character is evil. The narrative didn’t have to make them siblings for any part of the story to work. There are millions of ways you can have your villain behaving cruelly or coldly or viciously to demonstrate that they are a despicable, vile, dastardly, abominable, loathsome person.
Don’t use shorthand to indicate a character is evil. Write the story in such a way to show us the character is evil. But keep it in character, make sure that everything you show the reader also moves the plot along, and so forth. And if a reader is the sort of person who doesn’t recognize that coldly ordering someone’s death (or whatever things that happen in your story that are in character for your villain) is a bad person, maybe your story isn’t for them.
I didn’t think it was my place to write about the Helicopter story, other than to link to a few of what I thought were the more thoughtful pieces about it. The story uses for its title a meme that has been a popular attack from certain kinds of bigots against trans people. It was an attempt by the author to take a painful attack and turn it around. As one of the stories I linked in this week’s Friday Five showed, for some trans readers it succeeded in that goal. For others it didn’t. Art is risky like that, even when you aren’t tackling such fraught topics.
I’m not trans myself, and as such when trans people are talking about problems they face and issues they are struggling with, I believe my first duty is to listen, and when I can, amplify their words. Thus linking to two pieces by trans people in the Friday Five but not commenting myself.
The author has since asked the publisher to pull the story. The editor of the online zine has done so and issued a explanation.
In the aftermath, I’m seeing certain accusations being hurled around about those who didn’t react well to the story. One of the accusations is that every person who explained why they were uncomfortable with using that meme as a title was attacking the author. Similarly, people are characterizing criticism of parts of the story that didn’t work for them as a reader, again, as a personal attack on the author. Others are making the cliched attack that people who admit they didn’t read the story (and then carefully explained why just seeing the title brought up painful memories) have no right to comment.
Here’s why I disagree with all of those accusations:
In the early 90s I made the decision to do what a small fraction of the LGBT community was doing at that time: to take back the word “queer.” It was hardly a popular idea. My own (now deceased) husband was dubious at first. The word had been hurled at me and at him and others like us as an attack throughout our childhoods and beyond. I decided to pick up the those stones and turn them into a shield. But that was my decision.
It’s been 28 years, and I still occasionally get grief whenever I use the word queer to refer to myself or the community. Quite often from old white gay guys just like me.
They don’t like the word because it and the memories it evokes are painful. And it doesn’t matter that I have just as painful memories as they do, I have no right to demand that they deal with the pain the same way I have decided to. It’s true that I have forcefully asserted my right to use the word queer, but that is in the face of a different kind of criticism. Yes, I have also had people tell me not to use the word and that I’m a bad person for doing so.
But mostly, the negative comments I’ve gotten after using the word have been along the lines of: “I can never bring myself to use that word. Please don’t call me that.”
They don’t disagree with the word because they lack the discernment to tell that I mean it in good faith. They don’t refuse to use the word for themselves because they think I’m a Nazi. They aren’t attacking me when they explain why they refuse to use the word for themselves. They aren’t spreading misinformation when they speculate about why people like me are comfortable with the word and they aren’t.
Taking back a slur isn’t an easy thing to do. And it is perfectly reasonable for people to avoid the pain of engaging with the slur. It is perfectly reasonable for people to explain why they don’t want to engage with the slur. Deciding not to engage with the slur isn’t an attack on the author.
The helicopter meme has been used as an attack (mostly) on trans people. Not just the meme, but many variants of it. I’m not trans, but I’ve had angry bigots use the attack on me when I’ve posted certain opinions online. Angry words, harassment, taunting, and badgering hurts. Yes, I block frequently and quickly, but still the initial blow lands and it stings.
When one has suffered through those attacks repeatedly, seeing that attack used as a title of a story in a magazine you may admire, understandably fills you with apprehension at the least. The first time I saw the book Faggots I was caught off guard. I didn’t expect to see that word in large red letters on a book. I didn’t know, at the time, who Larry Kramer (the author) was. I didn’t know he was a gay rights activist. My first response when seeing that title was pain and fear. It didn’t matter that I was in a queer-friendly bookstore at the time. The title caught me by surprise and like a punch in the gut. I learned later that a lot of people in the community who did know who Kramer was and had read the book hated it when it first came out and saw it as an attack on the community—and for many, the wounds still burn decades later.
That’s the power words have. As an author, I am constantly reminding myself that words matter, that words can hurt as well as heal. Editors and publishers are mindful of this, too. Unfortunately, even the best of us with the best of intentions sometimes make mistakes. Readers who are caught off-guard and given no context will react. Some of those reactions will be raw. Some of those reactions will be misinterpreted.
It’s okay to disagree. It’s okay to take risks in art. I think attempting to take the power from slurs is a good and worthy pursuit. I also know that sometimes trying to do that causes discomfort or pain to some of the people that we’re trying to help. It doesn’t mean we stop trying. It just means that we try to do better, next time.
There are other people writing very thoughtfully on the topic:
I did National Novel Writing Month again this year, with my project being to get The Trickster Alliance out of it’s doldrums and possibly finished. I hit the default NaNoWriMo word goal of 50,000 words on Nov 22. Since in the past I’ve hit higher numbers, I then went for my stretch goal of beating my previous high word count, was was 66,000+ words. I hit 66,000 on the 29, and got a bit over 68000 on the 30, though apparently I waiting until too close to midnight to post my final number, because my stats don’t show the final word count.
I’ve spent part of the last couple of days figuring out how many of those scenes to transfer over to the book file. I know not all of them. There were several scenes that I wound up re-writing from scratch four or more times before I had a version that actually worked, for instance. I also wrote a couple of scenes that I am 99% certain aren’t needed in the story, but I needed to write in order to figure something else out.
The book isn’t finished, but it is significantly closer to it, and two really big plot problems that had bee holding me up for a really long time were sorted out. Sometimes having a deadline makes my subconcious spit out an answer, you know?
Now I do my annual switching of gears. The Christmas party is only 18 days away, and I have to have the annual Christmas Ghost Story ready by then. Often at the end of November I haven’t yet decided which of my many possible Christmas Ghost Story plots I’m going to work on this year. I have a bunch, and every year I think of at one or three more, so I’m not in any danger of running out of ideas at the moment. I actually started on one of the ideas in late October, so that’s likely to be this year’s tale.
Not all of the plots I’ve thought up for Christmas Ghost stories are set in the same universe as my novels, but the last several years those have been the plots I’ve been going for. I think part of the reason is because it’s easy to transition from working on one of my fantasy novels to a short story in the same universe.
Anyway, I need to get to it!
Several years ago I was on a writing panel at a convention. I don’t remember the exact title of the panel, but it was about what happens when you’re stuck or otherwise can’t seem to get a story moving. I was supposed to have a co-panelist, but they had to cancel at the last minute. The crowd in the room wasn’t really big, so I suggested we do something a bit more interactive. I briefly explained who I was and that most of my writing advice came from (at the time) about 12 years of reading the slush pile for a semi-prozine I was involved with. Then, rather than throw it open for any question, I asked for examples of times they had been stuck, and gave every in the room an opportunity to respond to it if they wanted.
This got a nice back and forth going.
One guy described how he’d had this story he’d been working on for a long time where he kept writing a few sentences or paragraphs about his main character getting the news of a death in the family, which was supposed to kick the plot off where the character would meet another character and they would both get involved in looking into what had happened. His problem he said, was he never knew how to get the main character from getting the news to meeting the other character.
I (rather flippantly) ask, “Why not just hit return and then type, ‘Later that day…’ or ‘A week later…’?”
And he looked stunned. “But don’t I have to explain how he got there?”
“You only have to show the reader things that move the plot forward. You can skip the boring stuff. You can jump past interesting things that happen to the character but aren’t important to the plot. Just jump ahead. Particularly in a first draft. During the second draft if you realize there is something important that you skipped you can add it then. But don’t do stuff like that until you get to the end of your first draft.”
Someone else in the room asked a question about the plot which made it clear that they thought plot was merely a list of everything that happens to the character. So I explained that plot is a problem, mystery, or challenge which confronts the protagonist at the beginning of the story, is resolved at the climax by the protagonist’s own actions, and is the thread the ties everything that you write about between those events together. It isn’t that every single thing the character does is part of the story, right? How many action movies show the characters going to the bathroom, for instance?
What a lot of people call writers’ block is a combination of indecision born out of the fear that what you write isn’t going to be perfect. So the first thing you need to do when you find yourself stuck is to realize that nothing anyone writes is ever perfect. Especially in the first draft. Your favorite book in the whole world was almost certainly a terrible mess in the first draft. It isn’t a great book because the author wrote exactly the perfect opening line, and then wrote every single sentence and scene that followed perfectly.
It’s great because the writer blundered along through the first draft until they had the skeleton of the story laid out before them—but not with all of the bones in exactly the right place. Then, during rewrite, the author got the bones arranged properly, added flesh to the bones, and eventually they had a living, breathing story that was ready to grab some readers and say, “Come one! Let’s have an adventure!”
Don’t let that fear of the imperfect prevent you from plunging in. Just start writing. And then keep writing until you reach the end.
Shakira – Try Everything (From “Zootopia”) [Official Music Video]:
(If embedding doesn’t work, click here.)
I’m participating in National Novel Writing Month (NaNoWriMo) once more. If you don’t know what that means… well, in the past I have quoted from the NaNoWriMo website to describe what the event is, but during the last year they migrated their old site and forums to a new host (and in the process did a re-design), and there is no nice way to say this: they have really messed up their web site. It took me a very long time poking around the website to find where they have moved the “What is NaNoWriMo” information to… don’t get me wrong, there are links called that in their menus, but if you don’t already have an account set up, those links don’t take you to pages that actually answer the question. The closest I could come to the old information is this:
…each year on November 1, hundreds of thousands of people around the world begin to write, determined to end the month with 50,000 words of a brand-new novel. You may know this mass creative explosion by the name National Novel Writing Month, or NaNoWriMo
The basic idea is that thousands of us all over the world will, starting on November 1, attempt to write 50,000 words of either a brand new novel, or to continue one started previously, or to revise one started previously. People who sign up for accounts can join regional forums, set up NaNoWriMo buddies to encourage (or compete with) each other, attend in-person or virtual write-ins, and so forth. It can be a lot of fun, particularly if you jump in with the notion that you’re just trying to get the first draft—no matter who bad it is—down so that you can edit and rewrite later.
Another thing about the migration is that everyone’s Buddies have disappeared. I went through the archive site and sent invitations to people I used to be buddies with to try to re-establish my old network. But a lot of folks haven’t logged in, yet, this year.
Anyway, I have set up my project for this year. If you are doing NaNoWriMo this year and want to add me as a writing buddy, please do so! My username on NaNoWriMo is “fontfolly” just as it is here at my blog and on twitter.
Let’s tell some stories!
Back in 1954 writer Sylvia Wright proposed a new word: mondegreen, meaning a mishearing or misinterpretation of a word or phrase in a poem or a song. Her idea for the name came about because when she was a child her mother frequently read to her from a book of poetry, and one of her favorites was a specific Scottish ballad that referred to the murder of an Earl by his enemies “and they laid him on the green” — in other words, put his body on display as a warning to other enemies. But Wright had always thought the line was “and the Lady Mondegreen.” So she had always thought that two people had been murdered.
One of my oldest friends used to tell how back in the day her Mother had thought that the Bee Gee’s hit from 1977, “More Than a Woman,” was actually “Bald-headed Woman.” And I’ve written before about how I had completely misunderstood a lot of the lyrics of the song Doris Day was most famous for singing.
I listen to music a lot. I have literally thousands of playlists, and I like to have background music when I’m writing, or working, or doing just about anything. Particularly in my writing playlists, some songs appear again and again. There are some songs that I think of as themes for some of my characters, for instance. Others just really go well with certain kinds of subplots. And the song is one that is currently in my draft NaNoWriMo 2019 playlist, which I’ve been fiddling with for a bit over a week.
Sometimes I like a song really well, but there are a few of the lyrics I’m not sure of. You can’t hear some words as clearly as the others for various reasons. For instance, there is a song that has been in a bunch of playlists for two or three years, now, “Dancin’ with the Devil” by Lindsay Perry. And I like the song quite a bit, but there is one line that I’m slightly unsure of. In the chorus there’s this sentence, “Cause there’s nothing much more for me to do, but go dancin’ with the devil in these old soled shoes.” Or at least that’s what it sounds like to me.
Except, I’m not sure what “old soled shoes” means, exactly. I mean, all styles of shoes have soles, and it the soles are old, one presumes the entire shoe is old, right? It’s just a weird phrase. There is a brand of children’s shoes called “Old Soles” but they are children’s shoes (and expensive), so not really in keeping with the rest of the song where the character portrayed in the lyrics is at the end of their rope because they made a deal with the devil that has turned sour as those deals always do.
I kept thinking that I must be misunderstanding her, so I finally decided to see if lyrics to the song were posted anywhere.
They are. But it soon becomes clear that every site hosting them is copying them from a single site where a fan with really bad hearing has made a guess at the lyrics. I say this because there are lines that are quite clear and unmistakeable earlier in the song that this attempt at transcription gets wrong. For instance, the line in the song “It was the devil in disguise with his hazy eyes, I should’ve known better from all his lies.” But the web lyrics render it as “He was the devil in disguise with his eyes of ice. Should I know better from how is last” Which makes absolutely no sense at all.
Plus there are other, worse mondegreens later.
The line I am slightly uncertain of they render as “go dancin’ with the devil in its handsome shoes” which I know is wrong, because, for one, everywhere else in the song the devil is referred to as he/his, not it. And frankly, I can’t imagine how anyone could get handsome out of the phonemes there.
Well, I’m not completely sure I’m right about that one bit of lyric, so do I really have a right to judge someone else who thinks it’s something that, to me, makes no sense at all?
Maybe you can hear it better than me.
Lindsay Perry on Sonny’s Porch / Dancing With The Devil:
(If embedding doesn’t work, click here.)
I woke up Tuesday morning in an extremely dark room with the feeling that something was wrong. I rolled over to squint at the red large print display of the alarm clock to see that it was after 10. I exclaimed a swear word or three and scrambled to get out of bed, since I have a 9:30am meeting every day at work which I was now quite late for.
I wondered why my alarm hadn’t gone off and glanced down at my wrist. I was still wearing my Apple Watch, so I hadn’t remembered to put it on the charger. I could see the hands on the face stopped at about 3am and realized that the battery must have run down. I turned on the light so I could find the charger, and was a little confused because the furniture in the room appeared to have been moved around. And I had no idea where my phone was.
I left the room, having to pass through the small master bathroom with the large whirlpool bath, through the big storage room with all the creepy furniture under dusty sheets, through the cramped kitchen with the weird stove and the red and white cabinets until I reached the living room, where the large dark brown shelves were stuffed with old photos and knick knacks, the coffee table with the book shelves built in sat in front of the turquoise couch, where I finally found my phone, which I needed to use to call my boss.
That was about the point when a corner of my brain that had been pointing out all the incongruities managed to be heard over the total panic I was having to point out that none of the things I just described actually exist in my house…
And I opened my eyes again, finding myself curled up in my recliner (I sleep the first part of most nights in the recliner because of the chronic reflux and the subsequent bleeding ulcer that very nearly killed my 18 years ago). I could read the glowing display of the cable box (right next to the charger with my actual Apple Watch—you know, a device that if the battery was dead you wouldn’t be able to see the hands since they are just pixels on its screen—was charging). It was 6 am, not 10-something.
Since I don’t normally remember more than a few snippets of dreams, I got up and checked around the house, figuring that I had been in the middle of a deep sleep and an unexpected noise had interrupted. But I couldn’t find any obvious problem. My husband had already left for work (as is usual for that time). It was just a weird dream, I guess.
I double-checked that the watch was charging and that the alarms were still set to go off at the usual time, then crawled into bed hoping to get another hour sleep.
And I got thinking about some of those details in the dream, because many of them have appeared in many of my dreams over the years. The crowded master suite bathroom with the whirlpool, for example. The kitchen with the weird stove. The enormous dark creepy store room. And so on.
Some of the details of those rooms I understand. The red large print alarm clock belonged to my first husband, Ray, when we first started dating. I kept it for many years after he died in 1997, even though most of its functions (the actual alarm, the radio, and the battery backup) had stopped working long before. The dark book shelves crammed with knick-knacks and photos used to actually exist in my great-grandmother’s den. The coffee table with bookshelves (holding an encyclopedia set) and the turquoise couch were both in my evil grandmother’s living room. One of the places my nice grandmother lived for a few years when I was in grade school had those red and white cabinets (but not the weird stove). But I have no idea where many of the other details come from. I’ve never lived in nor do I remember visiting a home that had that big whirlpool bath, for instance. Yet it appears in my dreams again and again and has been for decades.
I don’t remember any house with a huge store room full o furniture under dust cloths, though such rooms appear so often in movies—particularly horror movies of a certain era—that we can probably assume it’s just lifted from those movies.
And this is not by any means the first time I have tried to figure out where the weird stove comes from. It sort of looks like it was designed by Escher? It’s so hard to describe. There are burners where you couldn’t possible expect a pan to sit on them, for instance. And it has a bewildering array of levers and control knobs.
The truth is that our subconscious has more than a few ineffable processes. So while we can try to figure out where some of those images and notions come from and what they mean, there is no objective way of verifying the validity of those conjectures.
Which is something I find myself saying in a different way again and again to some friends and acquaintances who bemoan their inability to come up with “good ideas” for writing. There is almost no such thing as a bad idea for a story. I mean, you can build stories on bigoted or hateful premises, and that isn’t exactly a good thing, but generally speaking, any idea, no matter how mundane or surreal, could be turned into an interesting story with enough work.
The truth is that almost any story that you can name that you think of as great, was almost certainly a mess and barely readable in the first draft.
It’s okay if the idea doesn’t feel great when you start. Get the first draft done, no matter what those voices of doubt say. Set the story aside for a while. Then pick it up and start editing.