In the previous episode, Kaye George, author of the Immy Duckworthy, PI mystery series, had just suggested members of Austin Mystery Writers publish an anthology of short stories. Her proposal sent me into paroxysms of insecurity and doubt: could I write two stories of acceptable quality in the time allotted? Or would I embarrass myself and slink away, ostracized from the group, never to plot again?
Now, the rest of the story:
The burning questions posed in She Cannot Get Away have been answered, in part. I can write at least one story in the time allotted me. I’ve already done so. Almost.
As with every project, the key is to start early. I started two years ago. In a retreat workshop sponsored by the Writers’ League of Texas, I wrote a fragment beginning with the following sentence:
The day I found Mama stirring ground glass into the eggs she was about to scramble, I took the eggs away from her and called a family conference.
Some readers have seen that sentence before. They may be sick of it. I’ve gotten a lot of mileage out of it, fizzing over what comes next. My critique group suggested it’s the beginning of a novel, but I don’t think the situation has the necessary elasticity. In my hands, a novel starting with four siblings plotting to “put Mama out of her misery” could end up reading like the story board of a Road Runner cartoon: Children drop a metaphorical anvil off a bridge, miss Mama by a hair, light the fuse on a stick of dynamite, miss Mama by a hair, find themselves hoist with their own petard. Over and over for three hundred pages.
Shakespeare, given the same situation, would no doubt have come up with something fresh and original. But Shakespeare didn’t see as many Warner Brothers cartoons as I have. If he had, his creative faculty might have been warped, too.
Well. On July 4 of this year, I posted here that I was optimistic about the chances of getting a story out of the ground glass. Today I report that the two-year-old fragment is now part of a short story with a beginning, a middle, and an end. At our meeting last week, Austin Mystery Writers gave it their approval. Except for one thing. And I knew before a word was said exactly what it would be.
“But nobody died,” said Kaye.
I said I knew that.
“But it’s a murder mystery,” said Gale. “Somebody has to die.”
The three critique partners sitting the other side of the table nodded. In unison.
“I was going for subtlety,” I said. “It’s a death of the spirit.”
They stared at me. I stared back.
“But somebody really has to die,” said Kaye.
And then five people said they didn’t understand the last line. I had written the entire story so I could use that line, and no one understood what it meant.
I continued to stare. A string of pejoratives ran through my brain, notably philistines, peasants, and bourgeoisie. Finally I spoke.
“Thank you,” I said.
Then my friends began throwing out ideas for endings they preferred to mine, in each of which someone died. I sighed repeatedly and said things like, Yeahhhh, and Okayyyy, and I guessss…
People who tell inconvenient truths are so irritating. Especially when they gang up on you.
We moved on to discuss someone else’s submission. We chatted a while. We gathered our books and papers and parted.
I didn’t mention they were correct: The ending as written was weak. It fell flat. When I walked into the meeting, I already knew it was wrong. And I knew they wouldn’t let me get away with it.
Thirty minutes later, I sat across town in a writing work group, staring at my laptop monitor and thinking, Kaye gave me the perfect ending. All the suggestions were good, but hers works on multiple levels. It’s so right. Why didn’t I think of it myself?
Oh, who cares about why. What matters is that Kaye thought of it, and that she and four other writers talked turkey and made me listen.
If they hadn’t–and if I hadn’t–I’d have had a bigger problem than the embarrassment of
not turning in a story for the anthology. I’d have faced the humiliation of turning in a story whose last line four highly literate women couldn’t decipher.
Critique groups meet a variety of needs: for inspiration, encouragement, advice, mentoring, ideas, retreats, gossip…and for talking turkey. Carefully. Kindly. Intelligently. Honestly. Firmly. Timely.
I owe Austin Mystery Writers–big time. Because I’m convinced that if they hadn’t talked turkey to me, my literary goose would have thoroughly cooked.
(Okay, guys, what do you have to say about that ending?)
- Mama and the Ground Glass Resurface (kathywaller1.com)
- MPs demand that their omelettes are made by breaking eggs (thetimes.co.uk)
- What to never add to scrambled eggs (huffingtonpost.com)
- Kaye George Comes to Austin (dgalbright.wordpress.com)
I never wrote a word that I didn’t hear as I read.
~ Eudora Welty
Familiarity. Memory of the way things get said. Once you have heard certain expressions, sentences, you almost never forget them. It’s like sending a bucket down the well and it always comes up full. You don’t know you’ve remembered, but you have. And you listen for the right word, in the present, and you hear it. Once you’re into a story everything seems to apply—what you overhear on a city bus is exactly what your character would say on the page you’re writing. Wherever you go, you meet part of your story. I guess you’re tuned in for it, and the right things are sort of magnetized—if you can think of your ears as magnets. I could hear someone saying—and I had to cut this out—”What, you never ate goat?” And someone answering, “Goat! Please don’t say you serve goat at this reunion. I wasn’t told it was goat I was served. I thought—” and so on, and then the recipe, and then it ended up with—I can’t remember exactly now—it ended with, “You can do a whole lot of things with vinegar.” Well, all these things I would just laugh about and think about for so long and put them in. And then I’d think, that’s just plain indulgence. Take it out! And I’d take it out.
~ Eudora Welty, quoted here
In Monday’s post, I announced my goals for Round 3 of A Round of Words in 80 Days (ROW80):
- To write 300 words a day, five days a week; and
- Not to haul myself out of bed at 5:00 a.m. to write the 300 words.
So far, the latter goal has been easier to accomplish than the former. Nonetheless, I made my 300-word minimum and then some both Tuesday and today.
I’m working on a short story that began as a ten-minute timed writing at the Writers’ League of Texas Summer Writing Retreat at Sul Ross State University in Alpine a couple of years ago. I spent the week in Karleen Koen’s class, Writing the Novel: The Basics. That was probably the most productive week I’ve ever had. Karleen told us she couldn’t teach us to write, but she could teach us to play. And she did. She’s teaching the class at this summer’s retreat later in July. She also teaches for Rice University’s Continuing Education Department in Houston. Anyone who has the opportunity to take one of her classes should do so. Lots of writing, lots of fun.
The timed writing that I hope becomes a full-fledged story begins, The day I found Mama stirring ground glass into the eggs she was about to scramble, I took the eggs away from her and called a family conference. When I started, I had no idea where it was going. Back at home, I added to it and showed it to my critique group. They said I should work it into a novel. I still didn’t know where it was going. Or where I could make it go. But it didn’t seem like novel material, at least in my hands. Last summer, I tried to turn it into a ghost story but kept running into obstacles, the chief of which was that the plot was forced and downright silly. Now, a year later, an invitation to write a different kind of story has come along. Once again I dragged out Mama and the ground glass. And this time I think I can pull it off. It’s not over till it’s over, of course, but I’m optimistic.
It takes time to get some things right.
To see what other members of ROW80 are writing, click here.