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We Built This City

I don’t like musicals and I don’t like Tom Cruise. Thus, it was unusual to find myself sitting down of a Friday night to watch “Rock of Ages” which, I quickly learned, incorporated both.

It’s not that I dislike all musicals–I even have a few in my DVD library–but spending my first 35 years playing several musical instruments, I sweated in the pit during every school drama production, suffered through interminable summer “Pops” concerts, and endured nearly as many “Holiday Galas.” In short, of musicals I’ve had my fill.

As for Tom Cruise, well, he’s just one of those actors who can’t seem to get out of his own way. Again, my stance is not monolithic; I’ve liked him in a few films, but never as a leading man. When Cruise plays the chiseled-chin hero, the steely eyed fighter pilot lawyer spy covert operative race car driver, I always see the actor behind the mask. In every scene–especially in those critical, top-of-the-trailer tag-line scenes–behind that gritty, squint-eyed glare I see…Tom Cruise, thinking, working hard, working as hard as he possibly can to be that chiseled-chin hero, working his ass off trying to not be Tom Cruise.

At which he fails. But not here. Not in “Rock of Ages.” You see, I have learned a true Hollywood secret: Continue Reading »

Back in my “The View from Here” series, I addressed one common problem I called “Wiggle Words.” I cannot now remember where I came up with the phrase–perhaps I made it up; I’ve been known to invent a thing or two on my own–but I absolutely remember where I first encountered the concept.

Ken Rand’s The 10% Solution is one of the best how-to-write books on my shelf. It is short, clear, and has more bang-for-buck within its covers than most books 4 times its length. Ken has had a long career in fiction and non-fiction both, from novels and short stories to ad-copy, news reports, and PR work. In brief: Ken knows writing.

And this book is pure gold. I first read it about fifteen years ago, and I came away from it with two major lessons under my belt. Continue Reading »

Ineffable

Aeons ago, when newspapers were printed on paper and was a young Bay Area boy, I used to open up the San Francisco Chronicle and read Herb Caen’s column.

Yes. I was an odd little boy.

I remember one column in particular, in which Herb talked about one of the local Chinese restaurants playing softball against the SFPD in a charity event. The restaurant had t-shirts printed up for its team players. On the shirts were some characters in Chinese script. When Herb asked them what the Chinese words meant, he was told they translated as “No effing butter!”

Though this went straight over my little pre-teen head (on several levels), I was still smart enough to recognize a punch line when I read one. So I showed it to my dad.

“What does ‘effing’ mean?” Continue Reading »

Here’s my position on climate change: It’s happening.

You and I may disagree on whether or not it is anthropogenic, but if you deny that it’s happening at all, well, there’s no evidence I can provide that will convince you.

Last month, Allan Savory gave a presentation at the TED Talks, discussing climate change and the results of experiments in biomimicry. The content was astounding; so much so, that I strongly recommend everyone to devote 20 minutes to watching the video of his presentation. I came away, hopeful about our ability to address one of the contributing factors of climate change.

I first read about biomimicry back before the turn of the century (I love using that phrase) in a book by Janine Benyus entitled, appropriately, Biomimicry. The book did not address the issue of climate change–Al Gore hadn’t made a splash with it yet–but it did look at ways to solve human problems by mimicking patterns found in nature, such as the use of mixed-grain planting to mimic the prairie grasses of the Great Plains and help stop erosion and soil depletion.

What Allan Savory has done, is to mimic natural patterns and help reverse one of the four major anthropogenic contributors to climate change: desertification.

Continue Reading »

Kurt R.A. GiambastianiIn my years here on Earth, I have reached for the brass ring many times. Literally.

Spinning ’round the carousel, the calliope loud and manic, I rode a pole-skewered pony, my butt sliding on the polished saddle. With one hand gripping the spiraled pole, I extended my other hand, reaching out into the canvas-covered darkness, reaching, reaching, finger hooked, ready to pull, here it comes, then snatch! and I have the bracelet-sized ring of finger-thick metal. Back in the light, I see that it is not brass, but mere iron, and toss it at the clown face on the wall, the crazed calliope Dopplering as I slew past, positioning myself for another turn, another try, another chance at the brass ring.

The stuff of childhood memories, yes, but a piss-poor business model. Yet, having spent a couple of days exploring the writers’ groups over on LinkedIn, that’s exactly what I’m seeing. Writers, reaching for the brass ring, oblivious to the mechanics of the business they want to enter.

Let me put it this way: Don’t shoot the horse you’re riding. If you intend on self-publishing, be aware of the ramifications.

Continue Reading »

Spring is Near

Crocus

First Crocus of Spring

It’s coming. Spring is coming. The geese were right, and spring is coming early after a mild maritime winter. I’m not complaining…I love spring.

Mystical Methods

In prep for my next book project, I’m reading some authors whose styles I want to understand better. The first author on my list was Alice Hoffman, and my second is Julio Cortázar.

I turned to Cortázar primarily because of one story I read many years ago. “Axolotl” was a story of such unusual structure and style that it has stuck with me for decades, after only a single reading. This alone is enough do draw me back to it, in this preliminary phase, but its structure also has something I’ve been thinking about for the structure of my next book: shifting POV.

Cortázar’s prose and style is impossible to nail down. Each story in this so different from the others. At times, I thought I found an overarching method, only to find something radically different in the next story. If there is anything that does pertain to all of Cortázar’s stories here, it is density. And by density, I don’t mean that his prose is opaque and hard to understand. To the contrary, his prose is clear, but full of detail, full of depth, and (harkening back to my one recent revelation) full of history and backstory. Continue Reading »