In case you missed it last Friday, I posted the first part of a two-part short story.  I’m not waiting until this Friday to post the conclusion, because Fridays are slow days on teh internets.

Her Dying Wish (Part 2)

Normally, Saturday mornings were for her (as they are for everybody–as they are for you) bliss.  Waking up is a delight because you have slept well, your subconscious untroubled in slumber by the unpleasant prospect of being woken by an alarm and having to go to work and finding repose in the freedom of an entire day ahead of you to do as you please–or, if you are dying, an entire day to do the things you always wanted to do before you die.

This Saturday, however, she awoke feeling as if she had never slept at all.  Read the rest of this entry »

Authors, apparently, must also be Bloggers.  As part of my mission to re-vamp lrburt.com, I’m incorporating several regular features, including Fiction Fridays, which are dedicated to posts about writing or excerpts of my fiction projects.

Since my readers are probably more interested in what I write than in how I write it, I’ll kick off Fiction Fridays with a short story I wrote a few years ago.  Actually, it’s not terribly short, so I’ll break it into two parts to post this week and next.  It’s a humor piece, and a love story, and it stars a roll of toilet paper.  Something for everyone.

Her Dying Wish

by LR Burt

If you asked her what she wanted to do before she died, she would tell you things unsurprising and unremarkable: to travel to Europe, to write a novel, to go skydiving, maybe, if she was feeling adventurous.

If she told you this, you would believe her; after all, everybody, yourself included, wants to travel to Europe, write a novel, and skydive before they die.

Like everyone who claims these dying wishes, she never put spare change in a jar to save for that European vacation; she never sat down to write the first line of the novel that came to her as a lightning bolt of inspiration; she definitely never felt adventurous enough to sign up for a skydiving course.

No, what she dreamed of, in her secret heart, was to knock glass jars off supermarket shelves; to say swear words in places and in front of people she shouldn’t; to write a scathing letter to a person of great importance.

In short, what she wanted to do before she died was to become a menace to society.

Of course, if you asked her, she would never tell you that, because as far as she knew, she really and truly believed she was exactly like everybody else–and nobody else wanted to become a menace to society before they died. At least, no one told her otherwise. If anyone had, she might have recognized her real dreams sooner, without resistance or thinking she was going mad, and by pleasanter means than the threat of her imminent death.

Although, if she had recognized her real dreams under less urgent circumstances, she would not have realized that she’d never really lived at all, or felt so acutely what it meant to come to life. Read the rest of this entry »

“Those who can’t, teach.” John Marks is one of those who can’t. Or at least that’s what he thinks…

Piano teacher to prepubescent video game addicts…driver of a jalopy that might once upon a time have been a Honda (though no one knows for sure)…prematurely balding…divorced: hardly the life of sophistication and beauty John Marks envisioned when he embarked on a music career. He’s no catch, yet he catches the starry eye of Laura Lovelace, a music student at his old university who initiates their relationship by making fun of his name (which has something to do with a famous nudist and an American president) and disagreeing with his favorite maxim. Though he swore off singers after his ex, John’s nosey pastor’s wife urges him to step into the dubious role of mentor to Laura. Which, apparently, involves playing sheriff (literally, in costume, complete with fake guns) at the parties of substance-abusing music students–but with the bonus of securing his place as Laura’s knight in shining armor–until she discovers that his heart is protected by an entirely different sort of armor, which hid the identity of his ex. Leaving him with yet another ex–and more broken career dreams–unless he can learn to accept himself (receding hairline, rattletrap car, and all).

Ever wanted to read what I spend all that time holed up in my home office writing?  (Ever wondered if I really write anything at all?)  Now you can, because I’ve published the first 16 chapters of my novel, Songs for Piano and Voice, at Authonomy. I’m hopeful this site will help me get published or find an agent, but at the very least I expect I’ll get some helpful feedback. Which is where you guys come in.

Authonomy was set up by the HarperCollins publishing company to help emerging writers get noticed. The way to get noticed is to appear on the bookshelves and watch lists of members, and, of course, to get lots of comments. Each month, an editorial board from the publisher selects the top five rated books to be professionally reviewed. Not only is this a source of invaluable feedback, but it has even led to publishing deals.

You have to register at the site in order to comment on books posted there, but if you could spare a moment to do that (it’s a simple matter of registering your email address and creating a password and screenname) and leave a review saying you loved it, hated it, or have an idea that would make it better, I would be extremely grateful.  And if you’re an avid reader who enjoys promoting the work of aspiring authors, take a nose around the site and read and comment on other books.

Above all, I’m delighted to give this sneak peek of my work.  I hope you enjoy!

“Doesn’t the last third of a book feel like the bit once you’ve got to the top of the roller coaster and you’re just gathering momentum?”

A writing colleague posed me this question tonight.  We were discussing my novel, specifically, how I’ve felt like it’s careening from major plot point to major plot point at the end and I’m not sure how to pad it out around that, and consequently that’s been holding me back from finishing the last five to six chapters:  I know what is going to happen, but I don’t feel like enough is happening.

In fact I had finished a chapter before this discussion, with the caveat that I was afraid it was rather short and too much happens too abruptly.  Which had me in a bit of a tizzy about where I would pick things up tomorrow in the next chapter, and how much narrative padding I would have to come up with in order to maintain the pacing of the rest of the novel.

But suddenly my friend’s rollercoaster analogy flicked on a light bulb in the hazy attic of my mind where I’ve been living since I got to this point in the novel.  Of course when I’m reading, I don’t expect the last five to six chapters to maintain the same pace as the rest of the novel.  I expect the last chapters to go quickly because I already know the characters and I’m just reading to see what happens to them.

So why don’t I expect the same thing from stories that I’m writing?

I suppose it’s a little bit like how you ride a rollercoaster without thought because you trust that the engineers who designed it have taken all the physics into consideration that ensure you don’t go downhill so fast you go flying through the tracks.  While if you are the rollercoaster engineer, that initial test run has you mopping your brow because all your calculations might be wrong and the coaster might get to going so fast that something terrible happens.  But in the end you’ve got to trust your instincts as a creator and just design that rollercoaster, one point to the next, until it reaches the end.

At least as a writer, I have the luxury of first drafts, which trusted friends can read and give me pointers about.  I can always re-write – but only after I’ve written.

Suddenly, I feel a lot better about going to work tomorrow.  I’m not going to worry about padding: I’m only going to think in terms of what is essential to move me on to that next point in the plot.  Because my readers will be expecting things to happen to my characters now that they know who those characters are.  The reason my characters’ relationship fell apart is because nothing was happening to make them change and grow; only events facilitate change and growth – and happily ever after.

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Unrelated, though still on the topic of Songs for Piano and Voice, I realized a few weeks ago that this book, though set in 21st Century Waco, Texas, has something in common with my first book, The Collapse of Camelot.  Like Gareth, my lead in this novel is a man whose relationships are primarily with women.  His love interest, of course, but also with a circle of older women who are mother and sister figures to him.  I didn’t plan this; it just happened.  What does this say about my subconscious view of men?

Since it took me 80,000 words to have my star-crossed lovers meet, fall in love, and break up, I was figuring on it to take me anywhere from 40,000-80,000 more words to put them back together again.  (I called the king to ask for all his horses and all his men, but they were busy with this egg chap…)

However, now that I’m a few chapters into the getting-back-together phase of the story, my characters are quickly showing me that they dislike being apart every bit as much as I dislike writing them apart.  (Actually, I enjoy writing lovers’ quarrels, it’s just that it’s a lot easier to write flirtation.  But if writing novels was easy, more people would do it, and it wouldn’t be a job, would it?)   My characters still have lots of issues to work through and even more pain to deal with, but they surprised me today by doing things that indicate they want to get back together sooner rather than later.

Now, I understand that as Author, I wield phenomenal cosmic power over the characters I make up.  In the life of a fictional character, there is no concept of free will.  Yet as you write characters, a strange thing happens.  You’re not simply making up everything about them and everything they do.  They take on lives of their own.  It’s almost as if the act of writing is like chiseling away at a block of stone in which a human form already resides.  You’re not making so much as finding — finding out enough about these characters that you know what direction their stories should take even if it deviates from your original plan.

That’s why, even though I swear by planning what you’re going to write before you write it, I also swear that you have to be flexible to be a writer.   Where you might have planned for a character to retain the emotional control and distance of a Vulcan until the very end, she might tell you instead that she needs to be vulnerable.  After all, even though your characters aren’t real people, you want your characters to be like real people.  And real people aren’t (usually) Vulcans.  (Unless you’re writing, you know, Star Trek novels.  Which I’m not.  Although I am, clearly, a geek for making the reference at all.)  Real people are vulnerable.  And said character is going through a situation that would definitely leave a real person vulnerable and lowering her emotional guards.  So I think the new direction I took today was, though completely unexpected, the right one.

Speaking of real people and characters…

I don’t know if this is a common problem, but I’m never able to picture clear faces or features of characters when I’m writing or reading.   They’re just faceless blurs to me.  Yet whenever I see a film adaptation of a book I’ve read, I know whether the actor in a particular role fills in the (enormous) gaps in my imagination.  For instance, when Eric Bana was cast as Henry in the upcoming movie The Time Traveler’s Wife, I said a resounding oh yes. On the flip side, any number of actors in the Harry Potter movies make me scratch my head ask whether the casting directors read the same books as I did. (One of my many complaints about the Harry Potter film franchise, though that’s an entire blog post in itself…)

None of which is to say that I sit around thinking about who I’d like to play my leading characters if I not only get lucky enough to see my book in print, but also to have it adapted into a movie.  (Well, not very often, anyway…)  For one thing, it’s hard to cast characters who you can’t even picture yourself.  (I’ve had vague characteristics in mind for the leading lady, Laura — tall, naturally curly dark hair which she sometimes straightens, dark eyes, wide grin, toothpaste commercial teeth — but since the leading man, John, is the point of view character, I’ve managed to get by without describing him except as having thinning light brown hair.)  For another, I don’t want to base my characters off actors, lest parts of actors bleed into my characterization.  Unless, of course, that’s what I’m going for.  In this case, it’s not.

Recently I came across some reference or other to Anne Hathaway.  I hadn’t even really thought about Songs for Piano and Voiceyet that day, but immediately my thoughts went to it because it suddenly hit me that she looked exactly like the Laura I didn’t quite see in my head.  (Also, as I recalled a recent episode of SNL, she can sing, quite well, so if my book ever does become a movie…) Even more jaw-dropping was when I clicked on Anne’s IMDB profile and saw a still from one of her recent films featuring her in the arms of an actor who looked exactly like I hadn’t clearly imagined John.  (Patrick Wilson, if you’ve seen Watchmen, The Phantom of the Opera, or The Alamo.  Who also happens to be musical…Hmm…)  And again, it’s not like I need actors as reference points for my descriptions or characterizations.  I just think it’s kind of nice, after a year’s work on this book, to see more than blurs when I’m crafting scenes for John and Laura.  So now you can see them, too.

It’s strange to me how you can recognize someone you didn’t even know to look for — how the brain can supply you with only the vaguest of mental images, and yet you can feel very strongly about whether a depiction of someone or something is spot on or not.  I wonder if it’s at all connected to how you can forget the face of someone you know extremely well if you haven’t seen them in a while (sometimes a very little while, some people have told me).