Today, I am a man

In these pages find worlds to explore, creatures anxious to meet you. Take these gifts, these seeds, and grow.

It’s in the mid-1960s. I’m not ten years old. It’s Friday, noon. Every Friday noon my mother picks me up from school and we go out for lunch. Sometimes it’s Howdy BeefBurgers (long out of business), most often it’s the lunch counter at the Valley St. Plaza’s Woolworth’s. The lunch counter women know me, we show up so often. Mother gets to gossip, I get extra coleslaw. They know I like it and give me two scoops (I immortalized this lunch counter and these women in the “About the Cover” section of Reading Virtual Minds Volume III: Fair-Exchange and Social Networks). Once lunch is finished, we go grocery shopping at Champaign’s. Sometimes we go the S&H Greenstamp Redemption Center and mother has a separate bag of all her completed stamp books. Usually something for the house. Once she got me a recorder and I played it on the way home. Sometimes we go to the Rexall’s so Mother can get her medicines.

The Rexall’s has a section down aisle 5, near the middle. Books. Rows and rows of books. Magazines, too. I buy my first Doc Savage book here. Also Choice Cuts, The Dreaming Earth, countless others. Champaign’s has magazines and some books at the end of the medicine aisle. Not very good books. Not my kinds of books. I wonder if medicine and books are linked somehow.

I’m already hooked on books, on the magic of them. My sister, Sandra, got me started.

I also got hooked on books for another reason, a primal, almost primitive reason. I’ll get to that at the end of this journey. Bear with me.
Continue reading “Today, I am a man”

Empty Sky Chapter 4 – Joni Levis

Joni has boyfriend problems

(final edit before the proofreaders (he said). You can read the previous version here.)

Read Empty Sky Chapter 3 – Al Carsons

Creator and above level members can download a PDF of the first four chapters to read offline


Joni Levis rolled over and buried her head against Virgil’s pillow. Still asleep, she settled herself into the bed and inhaled deeply, pulling in his aromas, his shampoo and sweat, and smiled.

She felt a trill, a tingling contraction, a brief muscle spasm in her vagina. A moment later there was another quiver and she half opened her eyes. Awake, the contractions became more immediate and demanding. She looked at the large, red numerals on her clock: 4:35AM.

Fucking time.

Virgil always woke her up within a few minutes of 4:35AM for a little lovemaking. It didn’t matter if she was turned away, on her back, on her stomach, curled in the covers, facing him or what; always the gentle nudge, the liquid parting, and his lips would be on her, his penis in her. Busy-busy-busy for a few minutes and then asleep once again.

She reached for him and her hand closed on empty sheets. Her eyes opened wide. No Virgil and the bathroom was dark.

“Virgil?”

She turned on the lamp beside her bed. His clothes were gone. The only part of him remaining in her Boston BackBay condo was his scent on her sheets and his necklace around her neck.

“Fuck you, Virgil.”

Her eyes darted around the bedroom and stopped on her reflection in the mirror. “Ugh.” She turned away, pulled her nightshirt down — again! — and crossed her arms over her chest, her body reminding her of a little girl’s that had suddenly sprouted too much boob. She stopped wearing t-shirts with sayings on them because the punchlines were always hidden in the shade.

She pulled her knees up under the sheets and held them tight against her, flattening her chest and checked herself again. “Ugh.”

Her hand reached to her nightstand for a cigarette and came up empty.

“Guess today wasn’t the day to quit smoking.”

She’d replaced the ashtray with bowl of cherry Tootsie-Roll Pops. Rocking slightly, she unwrapped one, crinkled the wrapper, tossed it down on Virgil’s side of the bed, and sucked hard on the round head of candy as it entered her mouth.

“What’re you going to tell me this time? You going to tell me you had to go feed your dog? You going to say your friend, ‘Sarah’, couldn’t take care of things tonight and you had to get home?”

She took the lollipop out of her mouth and jabbed it like a pointer at the vacant side of the bed. “You know, people have been telling me to hire a private detective to find out about you. I’m thinking about it, you know.”

The necklace’s cheap stone pendent slithered between her breasts.

“And this fucking necklace.”

She laughed. Virgil called it a fucking necklace because “I like you wearing it when we fuck.”

She lifted the stone to her lips. “Come in, Virgil. Six-O-Seven-Niner on the old Ten-Four, good buddy.”

She snapped it off and threw it across the room. It banged against the wall, shattered, and let out a dying squeal.

“What the?” She retrieved it and held it under a light. A tiny circuit board grew dark. “You bastard. I was kidding. You fucking bastard.”

Another twinge. This one deeper, higher. In her womb. “I’m a month late, Virgil. Did you hear that? Is that why you left? You always seem to know these things. If I have it, will it be a lying little bastard like you?”

Outside and several stories below, a tractor-trailer headed east through Boston along Interstate-90. A car horn screamed and the big truck’s airhorn drowned it out briefly. The car horn became stationary while the truck’s horn continued on. “Yeah, that’s right,” she nodded. “That’s exactly right.” She reached again to her nightstand, opened the drawer and lifted out a vibrator. Black letters on its white side read “DaVinci’s Personalé Vibrateur“.

“Fuck you. Just fuck you.” She put the wet, sticky lollipop on the nightstand, turned the vibrator on, and shut off the light. “Fuck you.”

The vibrator quaked between her legs and her bedroom door opened. She walked through into her parents’ house in Denver.

Her mother walked out of the kitchen wearing clothes and a hairdo straight out of the early 1990’s. It was like watching a home video. Joni kept looking for her twin sister and brothers to enter the frame.

Her mother held a broom and swept between Joni’s legs.

“Scat!”

“Mom?”

Her mother turned into Shakespeare complete with long hair, ruffled collar, puffy shirt, tights, beard and everything. Shakespeare pointed out the door Joni had entered. “Out, foul thing.”

Joni walked out the door into heavy rain. No, not rain. A shower head hung directly over her in the sky. Water poured down but only wet her groin. She reached down. She was soaked. There was something else, something hard and unyielding.

“What the…” She woke quickly, the dildo still in her hand, her body shaking with the last pulses of her orgasm.

Something moved at her window.

She saw it again. A black silhouette, like a small man’s shadow. It walked through her window and up into the sky.

***

Dr. Honey Fitz watched for reactions. “So you say this is the first time you’ve had this dream, and you think it has something to do with your boyfriend?”

Joni sat in a plush, comfortable highback chair that belonged in a wealthy family’s sitting room, not a psychiatrist’s office.

But this was McLean Hospital, and this was Belmont, Massachusetts, and Dr. Fitz got three-hundred dollars an hour to sit on her skinny, old, Boston Brahmin ass and listen, so the furniture had better be damn nice. For that matter, the whole damn office looked like it should be a wealthy family’s sitting room. Everything matched: the chair Dr. Fitz sat in while she listened to Joni, the dark rosewood desk and chair beside it, the oriental rug that hushed the steps of anyone entering her office, even the painting of her namesake, Boston’s own Mayor Honey Fitz, smiling benevolently as his great-granddaughter listened to secrets he would’ve used to make himself rich. Hell, even the coat rack matched the chairs and desk. How many places did you know did that?

Joni stared out the window to the beautiful lawns and sculpted arborage guarding the hospital’s eastern wing from the citizenry beyond. “I don’t like calling him my boyfriend. He has a name. Virgil. The Virge.”

“You’re objectifying him.”

“I object to him, period.”

Dr. Fitz flipped through some notes. “Before you referenced him as your boyfriend.”

“Things change.”

“What’s changed?”

Joni’s thumbs spun the rings on her fingers like a magician practicing coin tricks. She pursed her lips and continued to stare out the window.

“Well?”

Joni ran a slim hand down the green silk of her blouse as if to straighten the pleats. Would her bosom grow larger or shrink to nothing if she had the child, or even if she waited too long before aborting it? Her mother’s breasts had shrunk to hanging prunes. But she’d breastfed four children. Her sister’s boobs had ballooned to the point she couldn’t go anywhere without men and women tripping on curbs or running into store displays when she walked past.

Funny. Her mother had breasts and both she and her sister had boobs.

Boobs. Tits. Knockers. Masougas. Momboes. Hangers. Hooters. Kleevcos.

That last one came from a website Virgil talked about.

“I’m pregnant.”


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I got D. Liebered (and I enjoyed it!)

(it was fantasitical)

Urban Fantasy author D. Lieber interviewed me recently regarding magicks, characters, and books I’ve written.

 
Talk about fun!

Let’s start with this exchange:
Q: What kind of spell can I get for you (or your character) today?
Hmm…few ever offer me their magicks, usually they’re asking magicks of me. What magick would I be gifted with? Le Guin showed us that asking for a thing doesn’t put boundaries on how that thing is achieved.
I will ask that you weave a spell that lets all asking of magick to know all that happens for that magick to be, then giving them the choice of still asking or not. (wow, what a good piece of storyfodder, that!)

And it gets better.

I should also add that D. Lieber is an author after my own heart; “D. Lieber is an urban fantasy author who writes stories she wants to read.” so similar to my Twitter “I’ve decided to spend the rest of my life writing things I’d enjoy reading. Who knows? You might enjoy them, too.”

So give a read, let us know what you think, and thanks.

Rita Mae Brown’s “Starting from Scratch”

A Writer’s Mechanic’s Manual for Any Car on the Road

Okay, first thing and before anything else, Get This Book!

I don’t care where you are in your writing career, Rita Mae Brown’s Starting from Scratch will give you a chuckle (several hundred, probably) and clarify things that were not only muddy, but had been pushed aside because they were just too damn hard to figure out.

Worry no more, Rita’s got you covered.

 
I didn’t know who Rita Mae Brown was until a friend suggested I give her a read. This was back in the early-mid 1980s. He thought she was brilliant and hilarious.

That didn’t tempt me.

Then he told me she could benchpress 225#.

Yes, I was that much of an assh?le (may still be) that that caught my interest.

But I didn’t pick up one of her books (that I remember) until my first go-round as a writer. That book being Starting from Scratch.

Reading the book recently, it’s obvious I had read it at least once before; there were highlights in it. There were highlights of concepts I remember, if not exact phrasings. Truth be told, I was probably unprepared for the book when I first read it (my copy was published in Feb 1988). I’m glad I kept it around.

Starting from Scratch is a mechanic’s manual of the English language. Brown explains the purpose of first v third person POV with duh! level examples and lots of them. Ditto subjunctive case (trust me, you need to read this section). Ditto strong v weak verbs (another must read). Imagine someone showing you a crescent wrench and a 9/16″ box-end, showing you they can do the same thing, then demonstrating why one works better on these types of nuts, the other works better on those types of nuts.

Her Exercises chapter…remember what I wrote above about being impressed by her bench? Here’s your cardio and resistance training in one incredible package.


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Character is… (Part 2.1) – Exposition is…

Bringing Your Character to Life via Exposition

This is the third in an ongoing series of StoryCrafting/StoryTelling posts I’m publishing for my own benefit; explaining something helps me determine if I’ve truly learned it or am simply parroting what others have offered. I learn my weak spots, what I need to study, et cetera.

Previous offerings include:

  • Atmosphere is…
  • Character is… (Part 1)

    And note that I’ll update/upgrade/edit these posts as I learn more.


    I ended Character is… (Part 1) with “The next in this series starts the exploration of the third character aspect, the techniques used to make the character real/alive to the reader.”
    So far as I know, these techniques are:

    • Exposition – the author explains (tells) the character to the reader. Most economical and least effective storytelling form. Improve it by sharing some sharp details, by having a character do the explaining (thereby revealing character as well as providing exposition).
    • Description – Second most economical, second least effective. If you must provide a list of details, make the last one explosive, eye-catching, something highly contrasting with the previous, preferably bland, descriptive details.
    • Action – most effective way to both show and demonstrate character.
    • Shading – building a character by revealing contradictions about them.
    • Gestures and Mannerisms – establish character by the little things they do, the non-conscious things they do, their habits.
    • Settings, Tastes, Interests – what someone has in their environment, how someone interacts with their environment
    • Opinions of Others – reveals both speaker and character.
    • Dialogue – Character reveals themselves through their own words or through dialogue with another character.
    • Thoughts – the author reveals character by sharing the character’s inner thinking about something.
    • Narrative Voice – 1st person POV, the narrator talks to us and is revealed via their words and thoughts.

     
    Exposition is…
    …a disaster waiting to happen. As stated above, exposition is the least effective storytelling form. It does have its uses. Quick transitions in time, space, or character are an example: “Jenny drove home from her office.” “Karl glanced out the window and waited for his stop.” “The Carsons walked out as the Davidsons entered.”

    In all three cases, the events aren’t as important as the fact that something’s changing; Jenny’s environment is changing from office to home, Karl’s waiting for the next thing to happen. The players are changing from one group to another (Carsons to Davidsons). All are single lines that provide little information other than letting the reader catch their breath before the next big thing occurs.


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