89,066 words, and done

With the first draft of my novel, anyway.  Well, that’s a relief.

The journey took a couple of unexpected detours, which means I ended up somewhere I hadn’t entirely anticipated.  Which means I now get to go back and start the journey all over again (and make it look like this was the journey I had in mind all along).

The draft ended up about 20 percent longer than I estimated, based on the lengths of the first two Walter Sands books.  Do I need to streamline the novel?  How am I going to do that?  I have all these notes about stuff I left out!

Maybe I’ll take a break and focus on women’s curling for a while.  Then on to the second draft . . .

Free will and good writing

I’m probably more interested in free will than you are, presumably for reasons I have no control over.

I don’t believe in free will.  Or, more precisely, I can figure out how it could possibly work.  I read Daniel Dennett’s pro-free-will book Freedom Evolves, and I couldn’t really follow his arguments.  I read Sam Harris’s anti-free-will book Free Will, and it seemed admirably clear.  Is it clearer because Harris is a better writer, or because the case against free will is simply easier to make?

Now Dennett has published a rejoinder to Harris’s book, and Harris has published a rejoinder to Dennett’s rejoinder. Yikes!  The heart of Dennett’s argument, I think, is that of course the naive folk interpretation of free will is wrong, but there is this other kind of free will that’s really real.  This seems to me to be the kind of move that sophisticated religious people like Karen Armstrong make.  Of course the Bible isn’t literally true; everyone knows that.  Instead, atheists need to grapple with my own numinous, apophatic, transcendent view of God.  Except this ends up being so numinous that there’s nothing to grapple with.

Similarly, Dennett’s view of the pernicious effects of an anti-free-will stance remind me of the “belief in belief” point of view that some smart people have about religion.  Of course you and I know better than to take religion seriously, but we have to be quiet about this, because religion is necessary to keep the great unwashed from losing their morality.

Anyway, here is a taste of Harris’s prose:

Holding people responsible for their past actions makes no sense apart from the effects that doing so will have on them and the rest of society in the future (e.g. deterrence, rehabilitation, keeping dangerous people off our streets). The notion of moral responsibility, therefore, is forward-looking. But it is also paradoxical. People who have the most ability (self-control, opportunity, knowledge, etc.) would seem to be the most blameworthy when they fail or misbehave. For instance, when Tiger Woods misses a three-foot putt, there is a much greater temptation to say that he really should have made it than there is in the case of an average golfer. But Woods’s failure is actually more anomalous. Something must have gone wrong if a person of his ability missed so easy a putt. And he wouldn’t stand to benefit (much) from being admonished to try harder in the future. So in some ways, holding a person responsible for his failures seems to make even less sense the more worthy of responsibility he becomes in the conventional sense.

Jerry Coyne is another clear writer who is not afraid to speak his mind.  Here is his utterly expected view of the debate.  (He could not have written otherwise.)

Who wouldn’t want to see Agatha Christie with her surfboard?

This was why the Internet was invented: photos of famous authors doing sports.  Here is Ms. Christie at Waikiki in 1922.  Dude!

Some of the photographs are meh: Stephen King throwing out the first pitch at a Red Sox game hardly counts as a sports photograph.  The Winslow Homery photo of a young Ernest Hemingway fishing is cute, but that fishing doesn’t qualify as a sport, if you ask me.

But Jack Kerouac scoring a touchdown in high school?  Stephen Crane posing with the rest of the Syracuse University baseball team in 1891?  Wow!

In honor of Agatha Christie, here are the Beach Boys singing “Little Surfer Girl” live in 1964.  Has it really been 50 years?

Not all my Nook reviews are drivel

After this post, I thought I should mention that Nook readers generally have very nice things to say about Dover Beach.  Here’s the current “most helpful” review:

The most satisfying read in a long time. This was my first book by Mr. Bowker, but it won’t be my last. Unpretentious, well written fun. Effortlessly realized characters who inhabit an engaging, imaginative story. You don’t have to be a fan of the noir detective genre to enjoy this book, but for those who are, it will be a real treat.

So there.  That was a five-star review.  Here’s a nice four-star review:

A post-apocalyptic Boston and its first private eye? Sure, why not? Quite good character development and plot, great atmosphere. I dare to say it could move to the big screen very well. There was nice exposition of the “whats” of this future, but never explained much about the whys and hows of the apocalypse – just enough – I was satisfied. I would hardly call Dover Beach a science fiction novel, though. I could hardly put it down, and plan to buy more after this Free Friday treat. Enjoy!

Of course, ya gotta love reviewers who say they plan to buy more of your stuff.  That, of course, is the point of making a book free.  This seems to be working, at least on Barnes & Noble.  Dover Beach‘s sequel, The Distance Beacons, currently has a very nice sales rank of 819, which, oddly, is higher than Dover Beach‘s rank.  This is working out way better than on Amazon, where Dover Beach is still free, but The Distance Beacons has a rather dreary sales rank of 176,736.  Too bad.  But here’s a nice review of Dover Beach from an Amazon reader to compensate:

Richard Bowker presents an awesome look at the role of a P.I. in a post-apocalyptic world. My first reaction was what on Earth would the remains of society need a Private Investigator for—it’s unlikely a P.I. would be hired to checkout phony insurance claims when there ain’t no more insurance companies. Richard builds a compelling plot with polished nuances sparkling for the reader. The plight of the survivors in Boston is rather frightful. The contrast between the shattered United States and merry old England is striking. He provides a nicely developed depth to his cast of players, and with all things considered, their surroundings are believable. I liked how he addresses real world money issues and there isn’t a P.I. with a pocket full of cash—but a meal at a London McDonalds is affordable. Richard did a marvelous job of resolving all the dangling loose ends—including a few dangling parts the reader doesn’t suspect are dangling—so to speak.

I like the way he calls me “Richard.”  Like we’re friends.  And we are!

Is it just me, or are Nook customer reviews somewhat lacking?

. . . at least, compared to Amazon review.

That “Free Fridays” publicity got a lot of people downloading Dover Beach.  And some of them apparently have more free time on their hands than I do, because they’ve already left reviews.  Some are reasonably well written, but then there’s this sort of one-star review:

DO NOT EVER LEND LendMe BOOKS TO NON- EXISTIENT PEOPLE!!!!!! NEVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER EVER DO THAT!!!!!!!!!!!!

(I left out about 50 exclamation points.)

The good news is that only three of out of 73 people (currently) found this review helpful.  The bad news is that there are three people out there who found this review helpful.

Here is a one-star review that I’m actually OK with:

This was a weird book. It started out almost as if missing half of it or it was part 2 in a series. You just felt lost like they were talking about things that happened and you werent a part of it. There was no explanation for anything, while the premise might have been good, a little more explanation would have made this book much better. As is, it sucked. Woild not recommend at all. Terrible.

Somewhere on this blog I’ve probably mentioned that I made a conscious decision not to give the backstory of the war in whose aftermath this story takes place.  The war happened in someone else’s world; these characters inhabit another world altogether.  If that doesn’t work for a reader, my apologies. If you’re a Free Fridays reader, all you’ve lost is your time.

At least I can get some consolation from this.

Pull on a thread, unravel a subplot

My writing group sits by the fire, drinking Whale’s Tail and eating cashews.  They have read my latest chapters, and it’s time to comment on them.  They like them!  That’s great, because the first draft is almost done and lots of stuff is starting to come together.

There’s just this one teensy tiny plot thread that doesn’t seem quite right.  Do I need to add a sentence?  Do I need to explain a motivation a little more?  Well, no, that doesn’t quite do it.  What if my hero does this?  What if the female character does that?  What if something happened in a previous chapter to set things up better?  Her husband — what if he does something?  But wait, we haven’t even met the husband!  And suddenly he’s the key to everything!  How did that happen?

By the time I finish my Whale’s Tail I have another whole subplot to write, and I am further away from finishing my novel than when I started drinking.  Time for another Whale’s Tail.

Thanks a lot, writing group!

I’d rather write than talk about writing

This is the weekend when the Arisia science fiction convention takes place in Boston.  Back in the day, I was the guest of honor at the first Arisia.  It was just about the last science fiction convention I’ve attended.  This can’t have had a good effect on my writing career (such as it is).  But I just don’t like talking about writing, or publishing, or science fiction, or anything related thereunto.  But I’m happy to write about that stuff here!

Many (perhaps most) of my acquaintances don’t know that I write novels.  And that’s fine with me.  Because when they find out, the conversations are mostly painful.  Where do you get your ideas?  Why haven’t your books been made into movies?  Why do you still have a day job?  Also: I have this great idea for a novel, but I’ve never had the time to write it up.  Maybe you can do that for me, and we can split the profits!

At conventions, you’re basically trying to sell your books to people who are mainly there to dress up in costumes, which is a different sort of pain.  Or you’re talking to other writers, which can be fun, but it’s mostly depressing.  Either they’re like you, and therefore they’re going to complain about everything having to do with the publishing industry.  Or else they’re more successful than you, in which case you have to contain your envy.

I have always envied Thomas Pynchon, who was successful early enough to never have to deal with any of that.  Just write your books and cash your checks.  What could be better?

What do you do if you discover that you’ve made one huge mistake?

I’m closing in on the completion of the first draft of my novel, and I have finally, definitively realized that I made one huge mistake in my plotting.  I revealed a secret too soon, and as a result everyone’s motivations for the rest of the story are messed up.  So, should I go back and start rewriting?  Or should I soldier on to the finish, knowing that I’m going to have to revise a lot of what I’m currently writing?

I believe the answer, alas, is to soldier on and complete the first draft.  The problem with stopping to rewrite is that I can’t know what else I’ve messed up until I get to the end and survey the damage.

The mistake stems from not having a clear enough idea of the various subplots when I began the thing.  So I’ve ended up with a bunch of characters who weren’t there in the original outline.  They just, er, showed up as I made my way through the story, and I never managed to integrate them well enough into the plot.

I always think: next time I’ll get everything right in the outline.  But I never do.  I figure out the journey I want to take, but there are always lots of unexpected detours before I get where I want to go.

Writers in movies: Love Actually

It seems as if I’ve been seeing a lot of writers portrayed in movies lately.  Here I mentioned the difficulty of portraying the writing life on film: it’s just too boring.  But that doesn’t keep screenwriters from trying.  Screenwriters should at least get the details right, but those details generally seem to escape them as well.

Let’s start with Love Actually, which features Colin Firth as a hack novelist falling in love with his Portuguese house cleaner.  (This comes in eighth out of the nine plot lines in the movie, according to this post; I’d rate it a little higher.)  In the plot, very little is made out of his being a writer — it just seems to be there to set up the scene in which a gust of wind blows his manuscript pages into a pond, forcing him and the maid to strip to their underwear and hop into the pond to rescue them.  This of course makes them fall in love.

Fair enough — the maid looks pretty good in her underwear.  But the setup is stupid.  I suppose we can believe that a hack writer in 2003 wouldn’t be using a computer.  But apparently we’re also supposed to believe that he wouldn’t be making daily copies of his manuscript pages, in an era of cheap home photocopiers.  And that’s just idiotic beyond words.  This isn’t something he’s doing for creative expression; it’s his job.  I haven’t seen anyone remark on this scene; Love Actually offers far easier targets for criticism.  But this one never fails to irk me when I’m forced to endure our annual holiday viewing.

Christmas Eve in the world of “Dover Beach”

In this excerpt from my novel Dover Beach, the bookish would-be private eye Walter Sands spends Christmas Eve alone in a grim London hotel room, where he is haunted by memories of Christmases past.  Things have not always gone well for him in the bleak post-apocalyptic world he inhabits.

The e-book of Dover Beach is still free on Amazon, for some reason.  Which is a pretty good deal, when you come to think of it.  It is ranked #21 among technothrillers, for some reason.  It is not a technothriller; technothrillers don’t quote Dickens, at least not this liberally:

I took a bath. I reread the newspaper. I reread the Gideon Bible. I stared out the frosted window of my dreary room and gazed at the ruddy faces passing by in the dark, alien world. And I waited for a visitor.

It was the Ghost of Christmas Past. I knew he would come. He always came, so why should he make an exception now that I was in London, in his hometown?

“Rise, and walk with me!”

There was no refusing him, of course. Some nights, perhaps, but not on Christmas Eve.

Through the window, across the frigid London sky, over the fierce, churning ocean—to the awful abode of memories, still alive, still waiting to claim me…

“Why, it’s old Fezziwig!”

Not likely. It was a solemn, gaunt man—too gaunt, far too DOVER-BEACH-COVER1Lsolemn—his bony hand resting on my shoulder, light as a leaf. I was warm—the wood stove was kept well filled. But I was hungry. Always hungry. The man’s eyes glittered, reflecting the oil lamp’s flickering flame. “Tomorrow is Christmas,” the man said. “Least, Mrs. Simpkins says so. I’ve kinda lost track myself. Thing is, well, there’s nuthin’ to give you. I’ve tried—you’ve seen how I’ve tried, haven’t you? But everything’s gone. The entire world is gone. Oh, I’m so sorry.”

The man’s glittering eyes turned liquid and overflowed, wetting his leathery skin, his gray beard. His hand moved down onto my back and pulled me toward him. He held me against his chest, and I heard the ka-thump ka-thump of his heart beneath the frayed flannel shirt. The intensity of the sound scared me. The sudden strength of the hand scared me. I stayed there, listening, and eventually the hand loosened its grip, and I stepped back. The man looked at me—looking (I know now) for forgiveness, and if not forgiveness, at least some sort of understanding. But he was looking for something I was far too young to offer.

“Daddy,” I said, “what’s Christmas?”

“These are but shadows of things that have been,” said the Ghost.

“That’s swell,” I said. “That’s really swell.”

The Spirit pulled me along.

And I was chopping wood outside a familiar, broken-down barn. I was sweating, despite the cold, and my arms ached. A woman came out of the barn, carrying a scrawny chicken she had just killed. Her face was lined and wind-burned, her body shapeless under a heavy coat. She stopped and looked at me, and I kept on chopping. “Walter,” she said, “things is tough.”

“Yes, ma’am,” I said. I kept on chopping.

“Mr. Simpkins says we’ll have to leave here pretty soon if things don’t get better. I don’t know what we’ll do if we leave, where we’ll go, but there’s got to be someplace better.”

“I expect,” I said. I put another log on the block.

“But we’ll take care of you, Walter. We made a promise, and no matter how hard things get, we keep our promises. You understand?”

“Yes, ma’am. Thank you, ma’am.”

The woman nodded, satisfied. “Christmas is coming, but I’m afraid there won’t be any gifts. We can have a tree, though. You like them old ornaments, right? We can make the place real festive. Won’t that be nice?”

I split the log neatly. “Very nice,” I said. “Much obliged.”

The woman nodded some more. Chicken blood dripped onto the snow. “It’s the spirit that counts, that’s what I always say. We don’t have much in the way of things anymore, but we still have the spirit, don’t we, Walter?”

“Yes, ma’am. We still have the spirit.”

The woman smiled and went inside. I picked up another log and put it on the block.

“Spirit,” I said, “show me no more! Conduct me home. Why do you delight to torture me?”

“One shadow more!” exclaimed the Ghost.

“No more!” I cried. “No more. I don’t wish to see it. Show me no more!”

But the relentless Ghost pinioned me in both his arms, and forced me to observe what happened next.

The three of us were sitting in the parlor that first year together, and Stretch was expounding. “If we’re going to preserve our civilization, we have to preserve its rituals. Rituals are what bind us together. They shelter us from the terror of loneliness and death. They give life meaning and shape.”

“Christmas sucks,” I said.

Gwen smiled.

“It isn’t Christmas that sucks,” Stretch explained earnestly, “it’s your experience of Christmas. That’s why it’s so important to create our own experiences—to overcome those other experiences, to connect with the best of the old civilization, to keep us alive. Don’t you see?”

Yeah, I saw.

And then it was Christmas Eve. The pine boughs had been strewn, the popcorn strung, the fire roared wastefully; and at midnight we all kissed and exchanged presents that we couldn’t afford.

I gave Gwen a typewriter I had bought at the Salvage Market.

Gwen gave me a book from Art’s special stock. It was called The Maltese Falcon.

“See?” Stretch said. “Isn’t this good? Isn’t this the way life should be lived?”

And then later, lying upstairs in each other’s arms. “What do you think of Christmas?” I asked Gwen. “Is Stretch right?”

“I think,” she said, “that I have never been happier in my life.”

“Spirit,” I said, in a broken voice, “remove me from this place.”

“I told you these were shadows of the things that have been,” said the Ghost. “That they are what they are, do not blame me!”

“Remove me!” I exclaimed. “I cannot bear it!”

He let me go finally—back to my bleak hotel room, back to my guilt, back to this present that I had so longed for all my life—while he went off, presumably, to torture some other undeserving soul. No other ghosts came to call—I didn’t expect any—and eventually I drifted off to a tense and restless sleep.

When I awoke it was Christmas Day.