Tag Archives: writing

Bedtime

“Why can’t you go to the movies tomorrow?” she asks.

“Because I have to work,” I say. “Your school has the day off, but my office doesn’t.”

“You have to go and write books?”

“No, that’s not my job.”

She fixes me with a quizzical look. When I lock myself away to write at home, I often tell her I have to work. I now realize this has led her to think writing is what I do for my job-job. For a moment I believe I’ve disappointed her, but really I’ve only disappointed myself.

“I don’t get paid to write,” I explain. “I do it in my free time.”

“You write for fun?”

“It’s not really fun, but…”

“You should make a book of your stories. Like, from your life. They’re funny!”

“What would you put in that book?”

The Salty Dog story, and, um…I don’t know, but they’re funny. You should tell more people your stories and get paid for that and that would be your job instead.”

“That’s not going to happen.”

“Why not?”

A million things spring to mind, a million things that stab and bubble inside my brain all day when I’m away from her, at my “real” job, but I can say none of them. Not to her.

“Well…It’s very hard to make a living as a writer, and people don’t seem too interested in the things I want to…”

“Battery roll!”

“What?”

Battery roll, that’s another good story you have.”

“Yeah, I like that one, too. I don’t think anybody wants a book about this stuff.”

“Then make something else with it.”

“Like what?”

*shrug*

“Alright, under the covers now. I love you.”

“Say ‘don’t let the bed bugs bite’,” she commands.

“Don’t let the bed bugs bite,” I say.

Click.

The New Quadruple-A Landscape of Writing

One thing I love about writing is that it can demonstrate someone being remarkably perceptive and oblivious all at once. To witness this phenomenon, read Stephen Marche’s latest piece for Esquire, in which he attempts to argue that we live in a “golden age” of writing. I found myself agreeing with a few of its assertions, yet also felt this agreement was negated by how much the author got wrong, chose to ignore, or could not perceive about the modern writing landscape.

In his article, Marche argues that ye olden days had plenty of bad or just plain boring writing, and I agree. He also disdains the “woe is me” attitude so pervasive among writerly types, which I believe is important. Every writer, at some point or another, firmly believed his/her beautiful art and soul were being crushed by a cruel, unfeeling world. One’s ability to produce work worth writing is directly proportional one’s ability to move beyond this narcissistic mindset. Otherwise, you spend the time you should be writing looking in the mirror, admiring your own bruises.

However, Marche’s stated aim was to show our era as a golden age for writing, and in this he fails. This is because the support for his thesis stems from how spectacularly rich authors like J.K Rowling and Tom Wolfe have become. By the same logic, you could point to J.P Morgan and John D. Rockefeller and say the Gilded Age was one of vast prosperity. It all depends on one’s notion of a Golden Age. Does that mean mountains of wealth displayed by the Morgans and Rockefellers of the world, or does it mean everyone is able to pay their bills?

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Embracing the Audience of One

Years ago, I worked on a biography of Jean Shepherd, performing research and doing interviews with people who worked with him. As I’ve written on this site many times, Shepherd is one of my artistic heroes, someone whose craft I admire as something uniquely his own which has no real parallel before or since. But the more I delved into his life, the more it seemed he was a damaged, strange man.

It was difficult to find people who knew Shepherd in his heyday and were also willing and able to talk. Many of his contemporaries and friends had died; others, like Jules Feiffer and Paul Krassner, proved difficult to contact. The same went for people I knew or suspected were influenced by him. I was aware Terry Gilliam had been a Shep fan in his youth, and I even had some contact info for the man, since the company I worked for had done a few books about his films. Alas, he did not return my faxes. (Yes, this was a long time ago.) Garrison Keillor wrote me a brief but polite letter in which he stated he grew up in Minnesota and therefore Shepherd–whose primary radio work was done in New York–didn’t really have any influence on him.

One of the few people who’d worked with him whom I was both able to get in touch with and wanted to talk to me was Fred Barzyk, who had produced most of Shepherd’s television work for PBS. At Barzyk’s invite, I was able to go to the WGBH archives in Boston and view some of these shows, most of which have not been seen on TV in decades. This included an odd show where Shep stood on a dock in Boston Harbor and delivered a version of his radio show there directly to the camera, monologuing for half an hour and then abruptly stopping.

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