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Your Brain on Hold

Monday, August 30th, 2010

brain 2

To prove that I don’t spend all my time tending deep thoughts, I watched “Run Fatboy Run” the other night. It was pretty funny, all right. Log line: “Loser aims to restore himself to his ex-girlfriend’s heart by surviving the London marathon.”

Cutting to the chase…we find our hapless protagonist, Dennis (Simon Pegg) staggering far from the finish line. He hits ‘the wall’, famous in running lore as a point of near-fatal exhaustion. Only the most determined athlete can tap reserves of fuel or inspiration to push through the wall.

Oh, yeah…the wall. In this ludicrously heartwarming flick, it’s portrayed as brick and mortar. Dennis uses his head as a battering ram until it would appear that his goal is out of reach. At which point he looks through a hole in the wall and sees himself on the other side. He is seeing the future. Wow. He sees a more highly evolved version of himself waving him on.

This movie is getting dumb and dumber.

So, let’s get serious and look behind the metaphor. What’s happening in the psyche that allows the predictable miracle to occur? Return with me to a time when I was six years old…

My buddies and I were playing in a house under construction. Jostling for a turn to climb a ladder to the second floor, I stepped back into the hole where the staircase should’ve been… and fell to the baaaaasement floor. Lying there face-down, unable to move a muscle—couldn’t even breathe—I was completely conscious.

Let’s reflect on that kid lying there with every muscle temporarily paralyzed. A moment ago he was brimming with youthful energy. What happens to it? With no physical options open to it, that energy is channeled into…

Consciousness. It’s a fact.

I remember lying there in a slightly horrified state of equanimity and inevitability about my situation. I was experiencing my first satori. An awakening.

So there we have it – heroes large and small (and dumb) become the benefactors of extreme adversity. Exhausted and without options, they are left with nothing but the will to live. Being present to life, finally, the organism becomes fueled with the promise of new goals. A person can pick himself up and never look back.

As for me…I guess I caught my wind just in time…and have been thinking deep thoughts ever since.

Want What You Get

Monday, August 23rd, 2010

eckhart

I know this sounds crazy but…is Eckhart Tolle e-stalking me?

It seems that every time I compose a dispatch, I find that E.T. has been visiting my in-box. Most recently, I was making notes for a blog post on a talk I’m giving soon about ‘The Nascent Self’ with respect to fiction.

[nascent, adjective: coming into being, emerging]

Regular visitors to my blog will be familiar with my theories—that any story can be divided into two—before and after the protagonist has exhausted all her options. I would appear to be making a hobby out of putting that moment under a microscope to see ever more deeply into what exactly is happening during that personal crisis.

Fictional heroes are all about Desire. It’s desire that sets them off on the adventure, and it’s desire that gets them deep into trouble. But it’s clear that some kind of awakening occurs during their crisis, and a rearranging of priorities. I don’t know of a single literary critic who speaks of this phenomenon. Mr. Tolle, however, seems to have his finger on drama’s pulse:

“When you drop your expectations that a person, a situation, a place, or an object should fulfill you, it’s easier to be present in this moment because you’re no longer looking to the next one. Most people want to get what they want, whereas the secret is to want what you get at this moment.”

Excuse me but…isn’t that it exactly? In any story worth reading, the protagonist doesn’t grind out a single straight path from desire to goal. The hero is usually so beat up or exhausted by this point in the story that he’s willing to reassess everything. And, so, a second goal invariably emerges. One that’s born in the crucible of higher awareness.

All the mystics offer the same key to freedom and true victory:

Want what you’re getting in this very moment.

These emails I’m getting from the mystic in my midst…well, I want more!

Life Is Trouble

Sunday, August 15th, 2010

zorba

My publisher escorted me to a librarians’ convention last week. For me, that meant two ferries, two cities, and a car that would break down before the trip was over. But, as Zorba said, “Life is trouble.” Being the author of two Y.A. novels whose word-of-mouth has yet to sweep the English-speaking world, I agreed to close my computer and hit the road. After all, Zorba also said something about going outside “where God can see us better.”

Confession time – an author cares less about God’s eyesight than the ability of customers in a bookstore to clearly see his latest novel. That’s where visibility counts, isn’t it? How do librarians, who loan our books free of charge, fit into the monetary equation? Encumbered with these worn-out biases, I nevertheless agreed to attend the PNLA/WLA Convention in Victoria, BC. Their slogan instantly caught my eye:

“No library is an island.”

 My job was to hang out at the booths of my Canadian and American distributors and sign books generously donated by Tradewind Books. Accompanying my signature, I scrawled, “Life is trouble.” After all, ROXY is set on a Greek island. The librarians who stopped by for their free copy seemed universally enthusiastic about the appropriateness of Zorba’s wisdom, perhaps because all stories concern ‘trouble’ of some kind. They were equally unconcerned that my young heroine is troubled with a suspected pregnancy even as the tale begins.

Enthusiastic only begins to describe these librarians. Many embraced the book as if they were starved for a good read. Many shook my hand, keen to make a connection. I could see how lives lived with books has made them curious, accepting, fun, talkative, engaging, open, and so very eager to share with other people. A librarian, by definition, is not an island – she’s part of a network of minds. Of which mine, with luck, would be one. If they liked my book.

In any event, I am grateful for being reminded that no author is an island. And all the less likely to be an island with every librarian he gets to know.

What You Can Learn Before Breakfast

Thursday, August 5th, 2010
She who must be obeyed.

She who must be obeyed.

I was required to deliver a short talk at a meeting early this morning. Last night my wife agreed to critique my presentation. Never one to balk at standing alone in the truth, she made no attempt – after two minutes of listening – to conceal her utter boredom. Now what? I was looking forward to bed, not returning to the drawing board.

My emotions ran the gamut between despair and gloom. And yet I knew I would show up in the morning. The social costs would otherwise be too high . I knew I would stand up and deliver…something. Thank god she’d stopped me before I bored the audience. Thank god she humiliated me in private before the same disaster befell me in front of an audience.

Truly, I agreed with my wife – she had spared the audience a heap of cryptic mentalizing on my part. Taking the path of least resistance, I envisioned a framework for my talk that saw me question why such favoured notions of mine could be so unpalatable. I could hold on to my ideas. I only had to hold then up to question.

And that’s what happened at 7:30 the next morning. It was well received. Better than I’d hoped.

It was a valuable lesson for me. Instead of posing as an illuminator, I established myself as living as much or more in the dark as anyone else in the room. I proceeded as if under the orders of ‘she who must be obeyed’.

“I might have shown up here this morning and humiliated myself…but my wife, bless her, saved me from such a fate… etc.”

And so a touch of humility was established. And with humility, belonging, which assured a rapport with my listeners. The rapport created an exchange of energies, which enabled me to savour the sentiments that were alive in the room. The sentiments embraced me, keeping me in the moment. This is all I ever want out of a public talk – a sense of timelessness. Even the faintest glimmer of this state of grace will do.

As a matter of fact, that’s all I want out of any moment.

How Fiction Works

Sunday, July 25th, 2010

typewriter_jpg

How Fiction Works“, by James Wood, is a recent book with a refreshingly non-instructional approach. I was surprised to find no discussion sympathetic to my notions of ‘why fiction works’. Wood doesn’t even mention the defining moment in a story – the protagonist’s turning point – with which I appear to be as obsessed as if it were the meaning of life.

In a way, this is good news, because it means that I’m trying to convey something that’s either above or below the radar of other literary critics. Fortunately, it would appear that I have a supporter in Eckhart Tolle. Tolle isn’t in the fiction business, rather he trades in hard-core reality. He’s a great promoter of the advantages of adversity.

Here he is, just the other day, dispatching his weekly e-message to those of us who find his insights irresistible:

“One could say that going through loss is the great awakener.
It is a potential opening if you don’t run away from it.
What is usually condemned as ‘bad’ by the mind and the mind-made self is actually grace coming into your life.”

‘Going through loss’…by definition this is the hero’s journey. Protagonists fight a losing battle until they ‘wake up’. The key, according to Tolle, is ‘don’t run away’. Mere mortals, of course, chose the path of least resistance.  Avoiding ‘bad’ experience is most everyone’s tragic story. The radical outcome of Tolle’s prescription is ‘grace’. Waking up changes everything.

In films, that grace can be seen in the character’s demeanour. Think of Rocky on the night before his big fight. His ego, having already taken a beating, he visits the fight venue and wakes up to his limitations. The realization transforms him physically as well as mentally. The swagger gone, he walks with dignity. A small but important detail.

You notice the same miracle in Moonstruck. The Nicholas Cage character (Ronnie) wakes up to his self-pity and becomes transformed physically. At the outset he’s as dark and deformed as Hephaestus, the Greek god of the forge, whom he’s meant to represent. But having won Aphrodite’s heart (Cher), he walks tall into the final confrontation of Act Three.

This isn’t the first time I’ve borrowed from Mr. Tolle, and I doubt it’s the last. I’m gratified that the lessons I see coming out of fiction are roughly those taught by a spiritual teacher. Given how much time we spend reading books and watching movies, we can be assured it’s time not so badly wasted.

I Want to Write About Faith

Tuesday, July 20th, 2010

Moon

I want to write about faith,
about the way the moon rises
over cold snow, night after night…

“I want to write about faith…”  This is Whidbey Island poet, David Whyte, teaching me a thing or two about writing.

The implication in such an opening line is that he can’t write about faith. That’s his starting point – a desire – implying that he isn’t able. The poem is instantly airborne on dramatic irony, because by the end of the first stanza we can see what he apparently cannot – that he’s already making metaphors and writing eloquently about faith.

I want to write about faith,
about the way the moon rises
over cold snow, night after night,

faithful even as it fades from fullness,
slowly becoming that last curving and impossible
sliver of light before the final darkness.

But I have no faith myself
I refuse it even the smallest entry.

Let this then, my small poem,
like a new moon, slender and barely open
be the first prayer that opens me to faith.

I don’t know of a better way to seduce a reader than to confess to a failure or a challenge of some kind. This is the lure of fiction. Or any story, for that matter.

Not only that, but Whyte has established an immediate and powerful central image – the moon. He takes us onto a cold landscape to watch this faithful old moon vanish, and there in the pitch darkness of a moonless sky he makes another confession – he has no faith.

That would explain why he can’t write about it.

He ends his poem by offering it up as a prayer – not for the talent to write, no, he’s done that beautifully – but to gain faith. We sense that it takes courage. He’s right. It takes some of that same courage to start writing. And if, like David Whyte, we don’t exactly know how to go about it, that’s okay.

The magic is waiting to happen if only we have the courage to begin.

Verisimilitude

Friday, July 9th, 2010

Brando

It’s got six syllables and seven vowels, so I know what you’re saying – it better mean something good. In fact, it just might be the Holy Grail of fiction. A writer whose story lacks verisimilitude has no choice but to keep rewriting until it rings true.

Ver-i-si-mi-li-tude: noun, the appearance of truth.

This word is worth ten syllables, that’s how important it is in fiction. And let me say this about that: easier said than done. Trust me, I’m 95% through a rewrite of my next novel (I Swallowed a Saint) and suddenly this word threatens to ruin my summer.

Ver i si mi’ li tude. I can barely say it.

I mentioned in my last post that Budd Schulberg, who penned the 1954 film On the Waterfront, crafted a story so seamless that we never doubt the protagonist’s choices. The hero’s actions always follow from what’s gone before, and they seem to anticipate events to come. In other words, each scene has a past, present, and future.

I should stop right here for a moment’s silence to let it sink in…

But I don’t need a minute, because at least one scene from my manuscript is speaking to me already. I’ve known it for months, that it suffers from veri(bad)similitude. Now I see why. Cause and effect has broken down. Things are happening out of the blue.

I should stop right here and watch On the Waterfront…again. (I’ve seen it 33 times.)

This subject suddenly looms large, so I’m going to give two quick examples before I rush back to work. First, a scene that blatantly fails the verisimilitude test (from Little Children):

Two strangers meet at a swimming pool. The writer wants to get them into bed, so he creates a sudden downpour (out of the blue), forcing them to run to her house. Don’t you just hate it when the writer pushes the characters around the plot like that?

Now, a fragment of the opening business in On the Waterfront. A dock worker named Joey Doyle has been murdered by union thugs before he can testify in court against them. A crowd gathers around the body. The priest (Karl Malden) tries to assuage the grief of Joey’s dad and sister (Eva Marie Saint):

FATHER BARRY: Take is easy, Pop. I know it’s rough, but time and faith are great healers…

EDIE: Time and faith…my brother’s dead and you stand there talking drivel about time and faith…
(refers to the immediate PAST)

F. BARRY: Why, Edie, I…

EDIE: How could anyone do this to Joey? Who’d want to harm Joey? Tell me, who…who?
(refers to BACKSTORY: Joey’s a good kid)

F. BARRY: I wish I knew, Edie, but…

EDIE: Don’t turn away! Look at it! You’re in this too, don’t you see? You’re in this too, Father!
(Prepares us for FUTURE events)

F. BARRY: I do what I can, Edie. I’m in the church when you need me.

EDIE: In the church when you need me… Was there ever a saint who hid in the church?

Edie’s last line FORESHADOWS not only Father Barry’s politicization, but more importantly that of the protagonist played by Marlon Brando. Of course, Brando isn’t hiding in the church, but rather in the vault of his own conscience. So, here in the film’s opening scenes we’re given the thrust of the whole story. This scene is both backward and forward looking, and I love it.

Now if you’ll excuse me, I have a date with a rewrite.

THE HOUNDS OF HEAVEN: Chasing Meaning On the Waterfront

Monday, June 28th, 2010

Waterfront 2

My intention in posting these dispatches is not as clear to me as the consequences of writing them – I’m learning something. Analyzing fiction not only helps me in constructing my own stories , but it increases my enjoyment of watching movies and reading novels. Here’s a flick that improves with every viewing, largely because it stands up to continued analysis. On the Waterfront.  

Lots to say about this story, which won the Oscar for ‘Best Picture’ in 1954. For now, I’m going to focus on something I introduced last time – the seamless evolution of the hero’s transformation. I’ve long felt – I must have read it somewhere – that the protagonist’s character doesn’t ‘change’ so much as it ‘unfolds’. He’s always had it in him. We all have a higher self waiting to be released, don’t we? I think so. The character transformation of Terry Malloy as acted by Marlon Brando is a masterpiece.

It was while writing my last post about Rocky (‘Best Picture’ 1976) that I began to wonder if Sylvester Stallone hadn’t drawn his character from Brando’s “Terry Malloy”. The set-up in both stories forewarns of suffering along with a soft-hearted gangster.

In Philadelphia, Rocky hasn’t the heart to break a debtor’s thumb, while over on New York’s waterfront, Malloy is horrified to learn of his unwitting participation in a murder. In each case the hero spends the first two acts trying to ignore the personal consequences of being a low-life, a bum, a fighter who ‘coulda been a contender’. Malloy’s transformation is foreshadowed in the first scene, where it’s clear that he’s a misfit among a band of thugs. How Malloy escapes his world – or how he sticks around to change it – those are the protagonist’s two options. Terry Malloy seems incapable of either.

Screenwriter Budd Schulberg keeps his hero hanging around the waterfront in spite of his ‘damn conscience’ torturing him. He’s trapped there by a profound inertia. This is the perfect situation in which to show a character’s inner life leaking out in myriad ways. His love of a girl, his compassion for the work of a politicized priest, his guilt and hope and loyalty to family.

He’s a man chased by the Hounds of Heaven. His higher nature is sure to catch up with him, it’s only a matter of time.

After a lengthy series of humiliations (this is what Act Two is for) Malloy is reminded of the time he threw a fight, the night he ‘coulda been the contender’. When he is able to verbalize his regret at being such a ‘bum’, we know that the hounds of heaven are all over him, and that his suffering will soon be over.

It’s easy and delightful to visualize Brando’s Malloy as a man trapped inside a cocoon. Eventually it has to burst, turning a new entity loose upon the story landscape to bring the story to a resolution. So skillfully is the part of Malloy written and acted that we don’t doubt that the events are real.

The writer doesn’t give us the chance to believe anything else!

By the time Terry Malloy charges into Act Three, he would appear to have no other course of action than the one that’s unfolding on the screen. That’s good writing. I’ll look at how the writer accomplishes that in my next post.

In the meantime, if you’re a student of film, read (or watch) Budd Schulberg’s script for On the Waterfront. Try to isolate Terry Malloy’s watershed moment. By that I mean the point in the story before which he’s still acting like a bum, and after which he’s in the force field of his higher self. The before and after constitute the two main building blocks of story architecture.

Rocky: When Losing Is Winning

Monday, June 21st, 2010

Rocky 2

What fun it is analyzing fiction. You’ll have noticed lately that I’m obsessed with finding the watershed scene in the protagonist’s struggle – the moment when the hero, having been knocked silly, wakes up to the facts of life. Problem is, the more well-crafted the story, the harder it is to isolate a singular moment.

In a good tale, any change in the protagonist will be latent in his character, and will have revealed itself in subtle ways throughout the story. The hero’s transformation (or unfolding) will be a seamless event. Even still, there should be a precise moment when it’s clear that there’s nothing left but for the story to rush toward its climax

While reviewing Sylvester Stallone’s Rocky this week, I wasn’t expecting much subtlety – and there isn’t much. Even still, because the film has been such a success (”Best Picture, 1976″), it must contain some story-telling magic.

Although Rocky Balboa is a reluctant hero, the screenplay doesn’t do much more than set this underdog on a course to duke it out with the heavyweight champion of the world, Apollo Creed. It appears to be a ‘smoggy fairy tale’ (as Variety magazine called it), moving inexorably to its conclusion. But then something happens on the eve of the big fight to save the film from utter predictability.

Rocky gets real.

And the more I reflect on Rocky’s epiphany, the more I like it. He rejigs his expectations to align with a deeper yearning (a higher goal). This switch issues from a realization that winning the fight isn’t likely. Here’s how it unfolds:

You’ll remember the famous scene depicting Rocky’s training regimen as the theme song “Gonna Fly Now” carries Rocky up the steps to Philadelphia’s Independence Hall at dawn, where he dances his victory dance. CUT TO: Rocky unable to sleep. Leaving his girlfriend in bed, he visits the fight venue, which is all prepped for tomorrow’s spectacle. He meets the fight promoter who assures “the Italian Stallion” that he’ll “put on a good show.”

Rocky realizes his place in the scheme of things. He’s not in Creed’s league. He realizes that he’s been set up to play the gladiator. He’s nothing but meat for the lion.

Rocky returns home, sits on the bed where Adrian is sleeping, and starts soliloquizing, “I can’t do it; I can’t beat him.” To which Adrian replies, “Oh, Rocky, you worked so hard.”

ROCKY: It ain’t so bad, ‘cause I was nothin’ before.

ADRIAN: Don’t say that.

ROCKY: It’s true. But that don’t bother me – I just wanna prove somethin’ – I ain’t no bum. It don’t matter if I lose. Don’t matter if he opens my head. The only thing I wanna do is go the distance. That’s all. Nobody’s ever gone 15 rounds with Creed. If I go them 15 rounds, an’ that bell rings an’ I’m still standin’, I’m gonna know then I weren’t just another bum from the neighbourhood.”

Yes, it’s clunky, but the point is that we’ve isolated the watershed scene, the moment that divides the story in two. Rocky’s new goal has nothing to do with the superficialities that keep him on the periphery of life. He’s going to stand his ground and suck up the pain that goes with plumbing his depth. It’s a new man that takes the tale to its conclusion.

Of course, Rocky loses, but by losing in 15 rounds, he wins. He may be a bloody pulp but he has earned his dignity.

Does all this remind you of another story about a boxer, a loser, a bum? Exactly. Marlon Brando in On the Waterfront. Academy Award winner in 1954. I’ll revisit that masterpiece in my next blog.

Vampires, Eternity, and Time

Wednesday, June 16th, 2010

28072vampire1

“The thing about vampires is that they mistake eternity as the endless duration of time.”

My friend, Colin, laid this profundity on me over coffee the other day. We were discussing pop culture’s infatuation with vampires in films and novels. I suggested that while we need ‘escapist’ literature, perhaps there’s too much of it these days. Stories about protagonists squaring off against good old-fashioned reality should be just as frightening, maybe more so.

“Vampire myths are a metaphor for the un-illuminated ego,” Colin said. “You only have to look at the world the vampire lives in. Dark. It can’t survive in the light.”

His point, of course, is that real people in real life are just as fearful of the light. Light = seeing = truth. Vampires, like most people, will do almost anything to avoid the light. To avoid discovering whom they really are.

“The vampire is so lacking in self-knowledge that he can’t even see himself in a mirror,” says Colin. 

Knowing oneself isn’t just the consequence of a protagonist getting repeatedly hammered during Act Two, no, it is the spiritual question. And the two are often linked. The battered hero, faced with no alternative but to surrender her tired old strategies, lands in the present moment. We know this as a ‘religious experience’, characterized by timelessness. C.Y. calls it the “vibrant life”.

“But, hey, the vampire’s relationship to the vibrant life is as a parasite,” says C.Y. “He sucks as much of it as he can get, and then retreats.”

Hmmm. We mortals would appear to approach life in much the same ‘hit and run’ manner. We too mistake eternity as the endless duration of time, and grab only what we need to live another day. When fictional characters fail to stand and deliver for all time, it’s called a tragedy. Maybe vampire stories are tragic by nature.

Myself, I appreciate stories where the protagonist sees the light, if only for a second. In that moment, even dying loses its tragic sense. The hero, glimpsing some new and all-embracing organizing principle within her life, proceeds to the climax a wiser person.

Even as I say this, I’m impressed as never before by the vampire metaphor. Fear of the light cannot be overstated. It’s easier to die than change.