Friday 30 November 2007

And now we just do it all again ...

Well, this is it, folks. The last day of Nano 2007. For most of you, scattered about the world, the day is still yong, for me, it is only over.

The end of Nano is a weird expereince. You've suffered so much over the month, you're so exhausted and strung out by the end of it, that you'd think the last thing you'd want t do is write another word. But at the same time, you really, really don't want it to be over, because its been such a wild, crazy experience, and going back to interacting with normal people who aren't fixated on word counts and plot bunnies seems ... slightly scarey. Those of you still scrambling for the finish line, of course, don't want the month to end because you want to eke a few more words out of it.

Good news on both counts. If you want to continue, there is no reason on Earth why not. December is nick named NaNoFiMo. If I tell you 'Fi' standds for 'Finishing,' I'm sure you can work out the rest of it for yourselves. Lots of people carry on into December, January ... the orums are still pretty lively. As I've said before, I intend to finish this year, starting tommorrow. I'm going to stage it as a personal Nano-lite challenge - aiming for maybe 30K for the month, rather than the monstrous 50K. Remember a time when you thought 30K seemed was a ridiculously high number of words, beyond comprehension and totally undo-able? That time was just 4 weeks ago.

The good news for those who didn't reach 50K is that they will just have discovered something totally remarkable - it doesn't matter a damn. As long as you're still showing up, reading my over-long emails and writing something, you're not a loser, and you're perfectly entitled to carry on with the rest of us.

So if you're keen to stick about and soldier on, I'm happy to stay in touch with you. By getting this far, you've graduated from newbie to veteran, so I relinquish my mentor's cape and knobbly staff.

My adivce to those who are still game (and I hope that's most of you) is simple:
  • Take a day off. Sorry, no more than that. To get more than a day off, you need to have finished earlier than the last day. I know you're exhausted, and weepy, and feel like you have no friends, but, tough. You need to get right back in there. If you don't, you probably won't. This was the mistake I made the first (counts quickly) THREE times I did Nano. So don't fool yourselff by thinking you can take a week off. Also, of course, if you're going to set a reasonable target for December, you can't afford to take days off.
  • You may spend the first day 'back on task' tinkering with youre plot, editing, brainstorming and what have you. This is where you get to correct some of the BIGGEST plot holes in your story. Don't stress about all of them - spelling and grammar, making sure character's names are spelt correctly and such like minutae are tasks for another month. But if you've missed out enitre scenes (as I have) or if you have characters in two places at once (as I have) or if you have far too much happening in far too short a space of time (as I have) then this ONE NIGHT is you're chance to go back and make these corrections. Because after that you have to atart moving the story onwards.
  • Set yourself a new word count and daily quota. This should be reaslistic - 50K in December is a BIG ASK, what with Christmas, New Year and all that. Also, you're probably drained after November. You can take your foot off the accelerator - BUT ONLY A LITTLE BIT. As I said, I'd like to hit 30K. Reason for that is ...
  • You need to set a new rewards programme. If my Nnovel reaches 80K before the end of the month, I'm buying myself the Special Edition of Deliverance on DVD. Classic film. Set your rewards to match how much you feel you can achieve - the point is to give yourself an incentive to stay on target, not to make yourself miserable by failing to achieve impossible goals.
  • Be disciplined. This is probably the toughest part of it. You need to force yourself to carry on with the story. With Nano over, a lot of the external motivation, the feeling of gleefulexcitement, is gone. Whether or not you've made it to 50K, you probably feel abit demotivated, deflated and perhaps even a little melancholy. Snap out of it. A daft competition ended, not the GREAT LOVE AFFAIR THAT WILL DEFINE YOUR LIFE.

Nanowrimo has put you on the road to becoming a writer, but you need to keep moving. It isn't a road, really, but a conveyor belt, or an escalator, travelling the opposite way to which you want to go. Stand still, and you'll get further and further away from you destination. Believe me, I speak from personal experience here - you need to be harsh, and drag yourself, whimpering and snivelling, to your work station each day and hammer out your words. Because it would be SOOOO easy just to give up. But you mustn't, because there's a whole damn book out there begging to be written, and only you can do it.

Monday 19 November 2007

Subterranean Home Stretch Blues

Looks like i'll get to 40K tommorrow. I certainly need it. Looking back, I don't remember previous nano's being this difficult. No, not even last year, when I was working full time (and believe me, November is the worst month for teaching in New Zealand), adjusting to the joys of parenthood, and wrestling a plot that was sprouting in many different directions (eventually, it turned into two seperate stories).

Okay, so 40K doesn't look bad - I'm sure some of you would sell limbs or non-essential organs for a few of those words. But it has been a struggle to get here. I'm exhausted, not too happy with my story and fustrated. I can sense the story lurking in the background, but I can't quite see it clearly enough to get it down on paper. I feel like I'm putting down a pretty poor substitute for the REALLY GOOD STORY that I should be writing.

I'm guessing most of you feel the same. Writing under pressure is like this. You can't spend time finding the right words or exploring all the poetical and metaphysical possibilities of a scene, or captuing a character's motivations in a few nuanced sentences. What should have been great scenes seem flat. Characters seem to be as artificial as puppets.

I can't offer any advice that will dispell this feeling of inadequacy, the suspicion that you're somehow spoiling your story and it would be better if someone who actually knew what they were doing was writing it.

I can only offer my usual advice: keep writing. It will get better. It might just be delight as you stagger across the 50K mark, or just numb relief. Or perhaps as you move towards the climax, things will pick up as the narrative gathers momentumn. Things can fall into place all of a sudden and stuff can just sudednly make sense. You get a buzz going when things like that happen. When it happens in the 30s or early 40s, it can give you a big enough kick to send you hurtling towards the finish line with the sort of enthusiam you NEVER thought you'd again feel for writing.

The other positive thing I can say is that things aren't ever as bad as you remember. One thing I've really enjoyed this year is looking back over previous nano's to find exemplars for the diversions I've shared. Reading some of those efforts has been really exciting - I've been amazed at how good they are. I'm convinced they are at least 500 time sbetter than what I'm writing now. I'm also sure in a couple of year time, I'll look back on 2007 as the very best year I ever had, at least 500 times better than whatever I'm writing in this putative future ... And remember, these were all projects I junked, and didn't think were worth carrying on with. At least one of them has now been moved into the 'Worth revisiting' folder (The story surrounding the Judy's Audition extract).

So don't let the voices in your head (and I KNOW there are voices in your head. Don't worry about it. Only mad people don't hear the voices by this stage) dissaude you from carrying on. Remember - no-one else can write this story. You might not be writing it as well as you'd like, but if it doesn't get written now, by you, it never will be written. And once it's written, however badly, it can be made better. And once you've got through nano, and had time to come back to your senses, you'll realise it isn't half as bad as it looks just now.

Sunday 18 November 2007

The tipping point

Week Three is when people realise that Nano is Hell. Some people are behind. For them, it is Hell. SOme people are on target. For them it is Hell. Some people are ahead. For them, also, it is Hell.

In Week One, enthusiasm and the giddy excitement of madcap excitement carries most nanoers along. Before they know it, it is over. Yup, a few run into difficulties straight away, but Week One is a time of wild optimism. "So what, I've only got 500 words, and I've just had both hands amputated. I can so do this!"

Week Two is usually pretty tough. Then, dismal reality sets in. What had seemed like a flurry of plot ideas turns out to have been a plot unravelling. Characters that seemed 'mysterious' in Week One are now just stubborn. Those foolish enough to credit muses for their inspiration, generally discover that muses are fickle, work-shy slackers who bolt at the first sign of trouble.

Week Three is different,a nd yet the same. Some are horrified to find that the problems of Week Two don't magically disappear in Week Three. Others realise just how bloody big a task they've set themselves. Others start to feel the effects of nano's pressure cooker environment - they get stressed, they get sick, they give up.

Some people hang on, bitterly punching out words, because somewhere in Week Three, they will reach 25K - the half way stage. And when they do, they think, they'll feel better. Half way! Wheeee!

Wrong. Halfway is just that. When you hit 25K, you'll feel like a train wreck. You'll be tired, sick, depressed, confused, saddled with a plot that you have no faith in and characters you hate. And you'll be acutely aware that once you reach 25K, you have another 25K to go. And you won't be sure that you want to do it, because you'll know how much the first 25K hurt. And you won't know if you want to do it again. Because doing it once hurt like Hell. So doing it twice will hurt like two Hells. And that can't be good.

That's when you need to keep on going. 25K isn't anything special. Everytime I've reached it, I've found it to be an anti-climax. But somewhere between 25K and 35K (usually 28K to 32K), I reach what I call the tipping point. Suddenly I relaise - really comprehend - that I've written a whole lot more than I still have to write. If all the words I'd written were piled up, and another pile of the words I still have to write was put beside it, the first pile would be much bigger than the second pile. And suddenly, you realise that you're going to damn well do this thing, no matter what. Up until now, you might have said you're going to do it, but it's always been with a little sliver of doubt. But now you know you can, and you will. And this time you really mean it.

And that's the tipping point. From there on, it isn't easy. But it is easier. The last 20K or so can still be painful, but somehow you know you're going to get there.

Tuesday 13 November 2007

Diversion #5: flashbacks

Flashbacks are really a form of short story, but as they can be more reflective and character focused, they deserve a special mention.

If you are a planner, you probably have plenty of notes on your characters. A lot of it probably isn't relevant to the story you're telling. Flashbacks give you a chance to integrate some of that material into your narrative. On the other hand, if your improvising, the chance to explore a bit of character background can also be useful.

We all know what a flashback is. For some reason, a character envisions stuff that happened at a different time or place. Perhaps Mitch's wife is leaving him, and he remembers what it was like when Stacey Gregorson cheated on him in high school.

The only real rule for flashbacks - and even this rule isn't hard and fast - is that it has to be motivated by something. A character can't start remembering the night his brother was run over while he's making love to a beautiful woman. Okay, he could - but it would be really odd. So you'd better know what your doing if you're going to try something outlandish like that.

Other than that, it is pretty open. Characters riding from one city to another, in the pouring rain? A character thinks back to riding to market with her father on the old dappled mare. It wasn't raining then, of course, but that's the point, isn't it? And then at markets she got separated from her father and met some dodgy characters who recruited her into the world of picking pockets and started her on the road to adventuring ... which is, ultimately, why she's now riding from Valgrad to Hultinstead, in the pouring rain, in chains and accompanied by some very unfriendly guardsmen. See? Motivation.

I don't tend to use flashbacks much, because I like to wing my stories and it can be difficult keeping track of what is happening in the here and now, without worrying about what happened in the Ganges Delta twenty years before ... But I did find one example, here, from my 2005 effort. The main character, Judy, is looking for her freind Bonnie, who works as a stripper at a seedy club. While waiting for Bonnie, Judy remembers her own attempt to get work there. It is a slightly unpleasant story, so precede with caution.
1 - 'Judy's audition,' in the November archive. Or click here: http://writehandpalm.blogspot.com/2007/11/judys-audition.html

Judy's audition

“Is Bonnie here tonight?” I ask, fingers crossed. She might have finished and gone home.

“Yeah, she’s on just now,” says Ronnie. “I’ll let her know you’re here, right?”

“Yeah, I just need to see her for five minutes.”

“Cool.”

He gestures to the back office. There are some uncomfortable looking chairs against the wall. I know they are uncomfortable because I’ve sat in them before. I plonk my bum in one now and pick up an old magazine, flick through it, just looking at the pictures. Five minutes seems a very long time. I look about. There isn’t anyone in the office, the lights are off.

I remember I went to see the owner of the club there, last year. I was pretty pissed off with school and thinking about quitting. Bonnie had left and I figured if she had done it, so could I. So I waited on one of these chairs for what seemed like hours.

I was really nervous, almost peeing because I'm scared about what I'm doing. You know that feeling that you get when you are really scared, you feel really hot all over? Even my eyelids feel hot and sticky. I guess I'm wearing too much make up, electric blue around my eyes and really red lipstick and I'm worried it is going to start running, but I don’t dare wipe the sweat away in case I smudge it. More than anything I need to go to the toilet, because I had a coke before coming here.

I wait for ages that time as well, until the owner, who called himself Ryan, walked into his office. He talks on the phone for a bit, and I'm just about to sneak off to find a toilet when he sticks his head out the door and says “Are you the girl who wants to dance?” I nod and he jerks his head to show I could come in.

Mr. Ryan is a biggish Pakeha guy, pale fleshy face and brown hair that lies across the top of his head. His tummy hangs over his belt and his shirt buttons strain against its weight. There are big sweat patches under his armpits. He licks his lips as I sat down in the chair opposite him.

“Okay, love, your name’s Judy, right?”

“Yeah.”

“I’m Mike Ryan. I’m the owner of this club. You want to become a dancer?”

“Guess.”

“You know that this is a men’s club?” I nod.

“You know that the sort of dancers we look for are exotic dancers?” I nod again.

“That means strippers, not to piss about?” I nod.

“Great,” he says. “Ever worked in a place like this before?” I shake my head this time.

“Good,” he says, nodding like he’s pleased. “You wouldn’t have a problem with dancing on stage? In front of strangers?” I shake my head again, though I’m pretty terrified of the idea. He looks pleased again.

“How did you hear about The Red Room?”

“I just heard about it. Saw the place in the phone book.” I’m not going to mention that I know her to Mr. Ryan and I haven’t told Bonnie that I’m here, or thinking about quitting school. She’d just nag and tell me not to do it, and try to give me money if I said that was why I wanted to leave. So I figured I’d do it all with out her knowing.

“Are you still at school, Judy?” asks Mr. Ryan. I squirm a bit on the chair, because I need to pee, and because I’m scared if I say yes he’ll tell me to get lost. But I bob my head to say that yeah, I’m still at school. “I can leave any time. I just need to get a job first,” I mumble.

“We can probably sort something out for that” he says casually. “You can even work in the evenings if you want to stay in school.” He licks his lips again, which is gross. He doesn’t do it quickly like you do when your lips are dry, he runs his tongue right from one side of his mouth to another, so you can’t miss it.

He says, “Do really want to earn money, Judy?”

I shrug. “I guess” I say. “Who doesn’t?”

“You’ll make good money dancing” he says. “But if you really want to make money there are ways you can make even more. Are you interested?”

I nod, and he licks his lips again and carries on. “Some of our girls do more than dance. Some of the clients will pay them for private dances in the rooms out back. Or more than dancing, if you understand what I mean. But that’s optional. None of the girls have to do that, it’s their choice. Would you be interested in that side of the job?”

I nod, because I know Bonnie does that. She says it’s gross the first few times but you get used to it. After all, I reckon I can always change my mind. “That’s good, Judy. That’s very good” he says. “I think we can probably find a job for you. Now, because of the nature of this job, I need to know that you’re not going to back out on me. Are you feeling comfortable?”

I nod, though I feel sick. I know what he’s going to ask now. And I still need to pee.

“What I’d like you to do, Judy, is take your top off for me. So I can see that you’re not going to back out on me or all the men who are going to want to see what you’ve got.”

Even though Bonnie told me about this bit, I find I can’t do it. I reach up to the button at the top of my blouse, and I manage to pop it through, but after that my fingers become really stupid and can’t manage the other one. He nods and grins at me, as I struggle with the next one. Then I feel like I’m going to throw up. I really, really don’t want to be here. I jump up from the chair, so quickly that I knock it backwards, and grab my little hand bag from the floor. “Sorry, I changed my mind,” I mumble. Without waiting to hear if he says anything I get the Hell out and push through the door into the alley, which stinks of rubbish and pee but smells a whole lot better than the inside of that office.

So I’m kinda glad, sitting on the uncomfortable seats waiting for Bonnie to finish whatever she’s doing, that Mr. Ryan ain’t in the office. I guess he’s at home, letting the club get on with its business. I never told Bonnie I’d been to see Mr. Ryan. I’d seen him a couple of times since, when I’d come around to meet Bonnie, but he didn’t seem to remember me. Guess he sees heaps of girls in that office.

Thursday 8 November 2007

Jack Callaghan goes to a party

The party was at a big house up on the hill that overlooked the Negro quarter. This was where the black folks who had made some money went to show off to their people. Charlie and his hangers on and the band and the girls piled themselves into cars and I managed to squeeze in as well, beside a fragrant, warm lady who introduced herself to me as Elvira and smiled at me to let me know that she wasn’t at all unwilling to get to know me better. Each car bursting with flesh and throbbing with voices, we shuddered and juddered our way up the hill. The party was in full swing by the time we got there. There were a lot of people already there, a lot of noise, and a lot of liquor had already been drunk.

We spilled out of the cars into the street in front of the house, raucous and merry. Charlie’s hostility had vanished – I figured he’d taken a hit of something in the car. He grabbed my arm and dragged me across the lawn. The girl he had been with earlier was still with him, trotting alone side and giggling at nothing in particular as we left the grass and found gravel
under our feet again.

“See, Jack, this is a party, like you never seen before in your part of town,” Charlie said, his words slurring slightly into each other. His eyes were bright, too bright for his enthusiasm to be natural, and for his camaraderie to be genuine. Give it time, I thought, and we’ll see his other side.

We went through the front door, into a hall way which was crowded with people smoking, drinking and laughing. At the far end were stairs curving up out of sight. I glanced into the rooms opening off the central hall. They were all full of people busy enjoying themselves. Music, erratic and improvised, squirted from one room. A trumpet, played clumsily, and a
piano, trying to find each other but missing. Voices were raised in amusement at the trumpet’s blundering attempt to catch up with the piano, which went off at a gallop. The house was hot, and full of smoke.

I looked around and realized that while I had been peering into rooms where I had no business peering, I had lost Charlie in the throng. I wasn’t too worried. Nothing about his demeanour suggested he was trying to give me the slip, or if he was it was only to be alone with the girl. He would be somewhere and I didn’t think Charlie was the sort of guy to leave a party early. I relaxed a bit.

All around me, people moved and talked and drank and made merry. I felt like the ghost at the feast. I got the feeling of people’s eyes sliding off me, without seeing me. No-one knew me. No-one would talk to me without knowing me. But I was comfortable with that. I went into the room where the music was coming from. It was full of happy people. I moved on, through the other rooms of the house, absorbing the atmosphere of the party without ever being a part of it. People were too wrapped up in what they were doing, mostly, to notice me. Handsome young black men talked to beautiful young black girls. Small groups huddled together and talked. I walked out the back door into a small garden where a few people were enjoying the night air, which was a lot less smoky and unpleasant than the air indoors. Mostly couples, I figured, talking intimately and ignoring everything else around them.

I went back into the house. I worked my way back through the rooms to the front of the house. I’d been there maybe an hour, and I wanted to check on Charlie. He wasn’t anywhere downstairs and I started to get the feeling maybe he had given me the slip after all. I was wondering if I could risk going up stairs, or if that would be pushing my luck when a big, strong shoulder thumped into my back and sent me staggering forward. I sprawled into a few of the people in the corridor, and got jostled a bit. I wasn’t too worried about them, I was intent on turning around to see who had done the pushing, because I had a feeling he might do a bit more of it.

He was big, alright, and built broad and deep as well. His face was a mask of belligerence and phony anger. “Whatcha doin’ here?” he snarled at me, twisting up his face more to eke out a bit more outrage. I put my hands up and tried to say something soothing, but he came barreling towards me, one hand shooting out like a piston towards my chest. I stepped back but I was too slow – the blow caught me. I might have avoided the worst of it, but there was enough there to send me staggering back further down the corridor. People were yelling all about me, and trying to get out of the way of me and the big guy coming after me. I got my balance back just before he lunged for me again with big, grasping hands, and I skipped back, more nimble than I had been since I was ten. I didn’t want his hands getting hold of me, or anywhere near me.

“Surely we …” I managed to say, before he swung a fist as big as a brick at me.

I ducked under it, but I was running out of space. The door was only a couple of paces behind me. Keeping my eyes on Goliath, I fumbled for the handle. He realized what I was up to, and lunged for me, just as my hand found the cool brass. He got a hold of me, and we went sprawling out onto the verandah together, scattering party goers outwards onto the lawn.

We crashed to the ground separately, and this probably saved me life, for I didn’t fancy my chances of getting out from underneath him. He lumbered to his feet and we circled each other a bit, with him spitting curses and saying bad things about my parents. I didn’t mind that, I’d heard much worse from a pint sized white girl. I took advantage of the lull to catch my breathe, and let him waste his. I sized him up. He was big, and didn’t have an ounce of fat on him, by the look of it. His cheap suit barely covered all of his straining muscle, and it looked like he would burst out of it if he flexed them all at once.

He came at me again, but out on the open I had time to dodge away. There was a ring forming around us, of cheering, laughing men enjoying the sight. The next time he lunged at me, I sidestepped and hit him twice in the stomach. My hand bounced of solid slabs of muscle. It didn’t seem to worry him at all. My first plan had been to run like a rabbit, but I couldn’t guarantee getting through the crowd. My second plan had been to tire him and hope he went to sleep. I was starting to think that one wasn’t going to work either.

“Stop running, white boy,” he growled, his voice thick and angry.

“Stop hitting me and I might,” I retorted. He laughed at that, a short ugly laugh.

“I’m gonna pound you into the bay, you keep running you only make me madder.” I tried to duck in under his guard while he was talking, and hit him in the chest again, but the result was the same. He chuckled, a nasty sound like a drain.

We continued like this for a few minutes. The crowd was getting restive. I tried to entertain them with some more attempts to break my fist on his chest. My hand was hurting, but I noticed he’d laid off with the wisecracks. Then a foot stuck out from the crowd sent me staggering and his massive paws came down on my shoulders and I found only my tip-toes touching the ground. I punched him again, but nothing changed. I kicked him hard, bringing a knee up into his groin, and he dropped me. I punched him again, but he still seemed to like that.

He came at me again, he breathe starting to come in short gasps. I wasn’t feeling too fresh myself, but I was in better shape than him now. I wasn’t all muscle like he was, but I was still pretty solid and plenty heavy, and I was tired of fighting like a girl. I swung under his flailing right and shot a jab at his chin while he was still coming towards me. His head snapped back and he stopped dead to shake his head, so I hit him again. He went down on one knee, and then pushed himself up again. I hit him again on the chin, and he went down again. He made a third attempt to get up but couldn’t quite make it. I turned away.

“Hey, faggot,” he snarled. I turned around. He had made it to his feet somehow, and had gotten a gun from somewhere. He waved it at me menacingly, and I felt menaced alright. I measured up the distance for a kick, trying to work out the best way to drop if his finger twitched, but then suddenly a huge figure stepped out of the circle and a massive hand crushed his wrist, yanking it upwards. The gun went off, harmlessly blasting the shell into the night.

“’Sall right, folks,” said Remus. “Fun’s over.” He squeezed the wrist he’d captured until the big man – who didn’t look big any more – howled and let the gun go. Remus kicked it towards me. I stooped down and picked it up.

“You okay there, Jack?” he asked.

I nodded, getting my breath back. Remus took hold of the other man’s collar and lifted him up off his feet. “Listen up. Mr. Callaghan is a friend of mine. You make trouble for him and you make trouble for me. You understand that, boy?”

The other nodded. “Now,” said Remus, “You get back home to your mamma and get your self cleaned up.” He let the other go, dropping him onto the lawn. I unloaded his gun and tossed it back to him. Remus and I watched as he shambled off, head hung low and clutching his wrist.

“Glad you had the night off,” I said.

Remus smiled. “I was watching. You had him licked, only it was a low trick to pull a gun like that, so I figured I should step in and even the sides up a bit.”

I laughed. The crowd had dispersed now the show was over. We looked back up to the house. The noise hadn’t abated any, if anything the party was getting louder.

“Why you here, Jack?” Remus asked.

“I’m here with Charlie Mitre and his crew,” I answered. Remus nodded.

“I heard what happened to Martha, Jack, I was sure sorry to hear it.” He put a hand on my shoulder.

“Thank you,” I said.

A woman screamed in the house. I thought at first it was just some girl getting carried away, but then she screamed again, and again, and the tone wasn’t one of a girl having too much fun. It was full of panic and fear.

We both started to run for the door, but there was a whole scrimmage of people trying to get through. Remus shoved his way through, and I followed. The woman was still screaming, louder, from upstairs. There were other voices now as well, loud angry voices yelling. Remus lead the way upstairs. We got to the top. There were people pushing and shoving to look through a door into one of the rooms off the landing. Remus dragged a couple of people out of the doorway and we got in.

It was a small bedroom, and Charlie Mitre lay dead on the bed. He was naked, and lay sprawled sideways across the bed, which had been shoved half away from the wall. There were three other men in the room. Remus stepped back to block the door to stop any more shoving in.

At first I thought the bed sheets were black. The only light in the room was the light that spilled in from the hallway, and the faint moonlight that floated through the gap in the curtains. At first, like I said, it looked like Charlie was lying, naked, on black bed sheets. Then I looked more closely and saw that where the sheets were tucked under the bed, they were white. And a white oblong at the top showed where a pillow had been lifted away, after Charlie had spilled his life’s blood on the crisp, clean white bed sheets.

One of the other men was murmuring something under his breath, a prayer or an expression of horror. The other two were standing there, too shocked to move. Out on the corridor, the woman who had been screaming gave one long last wail and then lapsed into sobbing.

I took a step towards the bed. Closer, I could see the wounds on Charlie’s torso – half a dozen deep stabs in the stomach and chest, thick gouts of blood congealing. He had died with his hands clutching his stomach, trying to staunch the flow of blood. I looked around the room. It was a wreck. The three other men stood in a line, a pace from the wall. Behind them, the moonlight picked out a long, bloody smear printed on the wall paper. In my head, I measured Charlie against it. It was about the right size.

The duvet was shoved into the gap between the bed and the wall. I reached over and pulled it partially out. One side was soaked in blood. I found the holes where the knife had bee thrust through it. Sadistic, brutal, but professional. Except for the last part, where Charlie had perhaps managed to escape from the duvet, the killer wouldn’t have gotten any blood on him.

A deadly game of blind-man’s bluff. Charlie Mitre had been wrapped up in the duvet like a parcel, before being stabbed.

“What happen, Jack?” asked Remus.

“I think he was lying on his back on the bed. I think someone smashed him in the face – his nose is busted – and stabbed him through the sheets, several times. I reckon there must have been two of them, one to pin him down and another to doing the killing.”

I pulled the sheets a little out over the bed, so the others could see the cuts of the knife. Then I saw there was something else down there, between the bed and the wall. Another naked body. The girl.

“Remus, help me move the bed.” We shifted it enough to get in to have a look at her. When the bed moved, she flopped onto the floor in a boneless way that told us she was dead better than any doctor could have. There was some blood on her, but no wound. The blood was on one flank, treacley lines of it running downwards across her torso. She had been killed first, I surmised, and her body had ended up between the bed and the wall while Charlie was butchered. Her neck was broken.

Bob and Angie crash a party

They left the house with the downstairs lights on, and walked out into the inky blackness of the drive for the second time. Angie’s hand reached out to Bob’s in the dark and they walked close together in silence. Pointedly, Angie steered them away from the waterfront. The party was still in full swing, the thump of the bass reverberating across the darkness. Bob wondered what Mrs Hodges would say about that. It took him several minutes to realise that Angie was deliberately homing in on the thudding bass.

“The night is still young” she whispered. “Let’s crash the party.”

It was obvious where the party was – a large house spilling light from every window, with a lot of people moving about inside.

They entered a dark driveway, with several cars parked outside. They took time to explore the garden, emboldened by the raucous sounds of revelry coming from the house. They walked around the back of the house. Shadowy figures moved in the in the darkness of the back garden. As they approached the house, a security light flicked on, exposing a couple half naked in the back seat of a car parked there, who started and scrambled to cover themselves. Not wanting to spoil anyone’s fun, Bob and Angie stole in through the back door.

Inside, it became obvious the party was in its death throes. A few people were still gallantly trying to drag it out a bit longer, but most seemed to have passed out or paired off. In one room a few people danced erratically to the deafening beat that had drawn Bob and Angie to the party, while a pornographic film played on the large television, the sound turned down. A suspicious odour of vomit was detectable in some rooms, smashed glass crunched under foot, mixed with the earth from up-ended pot plants. “I hope someone’s parents are a way for a very long time” remarked Angie as they drifted from room to room, feeling like ghosts.

Bob ventured upstairs in search of a bathroom. He did not know why Angie wanted to come here. He needed to pee, and he wanted to go to bed – he was already exhausted by the day’s events and wondering uninvited through a houseful of drunken teenagers seemed a waste of time. He found the bathroom, which smelt overwhelmingly of mint. The light bulb did not respond when he flicked the switch – dead or broken. He went in, anyway, leaving the door open so he could see what he was doing, raised the toilet seat and enjoyed the pleasure of release. There was liquid spilled across the floor. He recoiled in disgust, thinking it was urine, then realised where the fresh minty smell was coming from. Someone had emptied mouth wash all over the floor. Looking around he saw further signs of devastation: toothpaste smeared in long loops across the mirror, toiletries emptied into the bath, the glass door of the shower cracked. The damage was no longer funny, he thought. Someone’s wrecked this place, and there is going to be Hell to pay.

He went in search of Angie, but he was stopped on the stairs by one of the revellers, a girl of about seventeen, he reckoned. “Where’s Alex?” she asked plaintively. “Have you seen Alex?” Bob tried to push past her, but she grabbed onto his arm. “Do you know Alex? I don’t know where he is. I need to find him.” Bob shooke her off, but she trailed after him, snivelling slightly. “There are people here who weren’t invited. They’re doing things, I don’t think Alex would like it. Smashing stuff.”

As if to prove her point – though there was plenty of evidence already – there was a crash from downstairs, followed by a cheer. “Then call the police” Bob replied. “I’m surprised they haven’t been here already, with that noise.”

The girl wouldn’t leave him, however. “Will you come with me?” she asked. “I’m a bit scared of all these people down there. They’re pretty mean.”

Bob allowed her to latch on to his arm again and she followed him down the stairs. She was wide eyed, he suspected that it was something more than fear that was making her act like this. “Why don’t you go home?” he asked.

The girl started to cry. “This is my home” she replied. There was another crash from a room at the back of the house.

“We’ll call the police” Bob decided. He felt, all of a sudden, mature and decisive. Hell, he was only a few years older than this kid, but he had to make decisions. Calling the police because a party was getting out of hand. He had never thought he was doing that. “Can you show me where to find a phone?”

The girl nodded, wiping her nose on the back of her sleeve – that top looks like it cost far too much to be used as a hanky, Bob thought, and took him by the hand and lead him down the hall way to a room at the back of a house. It was a small study, with cases full of well bound books on the wall, a computer and a telephone. It seemed to be relatively untouched. Bob dialled and spoke to a bored sounding person who said he would send a car round as soon as possible, but in a tone that suggested this might be a while. Bob wanted to find Angie now. If things were as wild as the girl said, he wanted to know where she was. He told the girl to stay in the study and went out to look for Angie.

As he walked down the hall the music was cut off suddenly. Confused voices filled the void it left, raised in anger. The sound of breaking glass could be heard. A female screamed. Christ, thought Bob, what the Hell is going on here?

He opened a door at random. It was a small, dark room. There was a window at the far end, out of which he could see the night sky. There were people in the room. He heard a grunt, saw a shadow move in the pool of darkness by the wall. He heard someone shouting outside and the sound of feet running past the house. As they ran past the window, a security light flicked on, and the light fell through the window, just enough to light up a woman’s face as she knelt on the floor in front of the man in the shadows. For a moment he thought it was Angie, then he realised it was not. He did not know her. She scowled at him. “Do you mind?” she said, curtly. Bob closed the door.

He found Angie in the garden, with a group of the party goers. They were sharing a joint, watching objects being thrown out of the upstairs windows by unseen hands. She acknowledged Bob’s arrival by snuggling up to him and yawning. “I’m bored” she said. “Lets go home.”

“That might be a good idea,” he said. “The police are on their way.” This was overheard by the people standing around him – mostly teenagers, he thought, some looking frightened, others excited, as if they wanted to join in the mayhem but lacked the courage. On hearing the word ‘Police’ the little knot of people began to break up, individuals and couples drifting away. Bob touched one young man on the arm as he made to go. “Do you know Alex?” he asked. “Do you know where he is?” The boy shrugged and walked away.

“We’d better go if the police are coming.” Angie tugged at his arm. “I’m really stoned. I don’t want to have to deal with them.” Bob ignored her. “Bob!” she yelled, suddenly flaring into rage. “Lets go. Now. I want to go.”

He shrugged her off. “There’s a girl in there who’s out of her mind on something. It’s her house that’s being trashed. I want to check she’s okay.”

“Oh yeah?” Angie was incoherent with rage which seemed to have come out of no-where. “Is that where you were? Screwing some little bitch? You know there are, like fourteen year olds at this party? Is that what turns you on, you freak?”

He walked away from her. “Go on then, you sick bastard. Go back to your little jail bait bitch.” She started to cry. Bob stopped, unsure what to do for a moment, then carried on into the house. Angie was high as a kite but no danger to anyone. He had no idea what drugs the girl might be on and he wanted to make sure she was okay before he left, and tell her that the police were on the way.

She was still lying on the leather couch in the study. She looked at him drowsily. “Oh. I thought it was Alex.” She looked at him uncertainly. “Are you meant to be here? Were you invited?” She looked frightened. He sat down beside her on the couch. “No. We were just passing by. We heard the noise and we thought there might be trouble so we came to have a look. The police are on their way, they’ll be here soon.”

She reached out and touched his hand with her own tiny, pale hand. “Thank you for coming to see we were alright. We are, I think, but I think some things got broken. Alex will be able to sort it out I think. I wonder where he is?”

“Who is Alex?”

“He’s my boyfriend. He’s been staying here while mum and dad are away. They don’t like him” she continued drowsily. “Because he’s older. They think he’s bad, but he’s sweet to me.”

“What’s your name?” Bob asked.

“Beth.”

“Will you be alright here until the police come?”

“Oh, I don’t want the police … Alex might get into trouble, because I’m too young.” She grabbed his arm urgently. “Find Alex for me. I need to see him.”

Bob left the study. As he stood in the hall, unsure of what to do, the door he had opened earlier opened again, and a man and a woman came out, adjusting their clothes. The woman sneered at Bob. “Are you the creep who butted in on us?” she snapped. Her voice had a harsh, Glasgow taint. Bob shook his head, then spoke to the man, who was still fastening his trousers.

“Are you Alex?”

The man nodded. He was tall, skinny but hard looking, his head shaved. He wore a tee-shirt which exposed the tattoos on his arms. He took a step towards Bob, looking threatening. “What’d you want?” he said, his voice calm but loaded with menace. Bob made a decision.

“Someone told me to tell you the police are on their way. Someone called them. I was told to tell you you’d better clear out before they get here.”

“Fuck” said Alex. “Cheers mate.” With that he turned and walked down the hall and out the door. The Glasgow woman glared at Bob, studying his features. “If I ever see you again I’ll have you put in hospital” she snarled, then followed Alex out the door.

Diversion #4: throw a party

If it is all getting too much for you, throw a party for your characters. They may reward you by giving you fresh insight into themselves, or getting into intruiging situations. At least, they'll be too hungover or shamefaced the next day to give you much trouble.

A party allows you to bring characters together in an unusual context - everyday roles are set aside and the rules of correct behaviour are blurred a bit. You find out a lot about people by watching them enjoy themselves (or trying to) and interesting things can happen. The tough as nails police detective who grilled your protagonist about an unsolved murder might be at the party, behaving like any other normal human being. An upright, authoratiative figure can get drunk. Fights can break out. You can walk into a room and see something you really weren't meant to see. And at every party you'll certainly encounter Max, talking about something to people who aren't really listening.

This diversion can also include more formal celebrations - ritual events, days where the usual rules and social divisions are suspended and the peasant gets to act like a lord, or wild celebrations following victory over the barbarians. They can be slotted into a narrative quite easily - the adventurers arrive in town just as the celebrations for Walpurgis Nacht get underway, for example. Yes, it is contrived, but that doesn't really matter. Or they might follow a suspect to a wild party, as happens here (1). Or, like Bob and Angie in this sequence (2), they might just be nosey.

The Bob and Angie piece was the first time I used this diversion. It was a spur of the moment thing. In an earlier scene (3) I'd mentioned a party happening somewhre in town. Just a passing reference, because I thought encouraging the reader to imagine the scene being played out to the thump of dance music would be effective. Then I thought, "Why not send Bob and Angie to the party? Just to see what happened." What happened was is still a piece of writing I'm very proud of.
1 - 'Jack Callaghan goes to a party.' This scene has everything - drunkenness, a fight,sex, a double murder. Some party! http://writehandpalm.blogspot.com/2007/11/jack-callaghan-goes-to-party.html
2 - 'Bob and Angie crash a party.' If the link doesn't work, try here: http://writehandpalm.blogspot.com/2007/11/bob-and-angie-crash-party.html.
3 - The part is mentioned in passing the scene where Angie's father gets drunk and goes skinny-dipping, which was itself an example of a diversion being used:
http://writehandpalm.blogspot.com/2007/11/whisky-and-water.html.

Monday 5 November 2007

Jack takes a hiding

I went to the office. While I was at the door, two large men came up behind me and one poked me in the back with something cold and hard and very like the barrel of a revolver.

"Okay, bud, don’t try anything silly."

I put my hands on the door, to show I wasn’t going to try anything silly.

"Open the door, nice and slow. We’re going up to your office with you."

I opened the door nice and slow, and we all went up in the elevator, which wheezed and groaned all the way. On the way up, I kept my face to the wall, like I was told to do and didn’t try anything cute. When we got to the fourth floor and the elevator door opened, the one who was doing the talking poked me with the gun again, we marched out and went into my office.

"Turn around," he said. I turned around, and he hit me, a straight jab to the jaw. I went staggering back and bounced off my desk. As I tried to find my feet he came in close and hit me again, two thumping body blows which curled me up on the floor, whooping for breath.

"Get up," he snarled. I lay where I was sucking in air, stars still exploding in front of my eyes. "Get up," he said again, moving in again and raising his foot to kick. I managed to get myself up, first into a squat and then push myself up against the desk, so I was mostly standing. My mouth was full of the taste of blood and my ears reverberated with a thumping sound, the sound of blood being pushed around my body as my heart tried to get oxygen to where it was needed, only I wasn’t sucking in enough air to keep a mouse from suffocating.

Through eyes that weren’t really much good for looking right now, I got a look at the two people in my office.

The one who was doing the hitting wasn’t big, but he hit like it. He was medium height, broad shoulders and a tough, merciless face. He was still wearing his hat, as if he wasn’t in the middle of beating me, or as if beating me wasn’t any sort of trouble at all. The other one was bigger, and watched impassively. He was there as back up, in case the first one got into difficulties, which seemed unlikely, or fancied a break, which also seemed remote – number one had the look of someone who would punch faces all day and think it a fine job. Maybe number two was there to help carry my body out after I was finished. That seemed a likely possibility.

Number one stepped forward again, balanced on the balls of his feet, ready to whack me at anytime. "You jack Callaghan?" he snapped.

"Who wants to know?" I wheezed, and as his fist shot out I tried to duck to the side, so the blow which should have snapped my head back and laid me out on the desk bounced off the side of my face, most of the force lost.

Number one stepped back and shook his fist ruefully. "Maybe I need to hit you a few more times before we start talking like civilized people. Is that what you need, Callaghan?"

"I need a drink. Can I …. interest either … of you gentlemen?"

"You shouldn’t drink on the job, Callaghan, it makes you sloppy and slow. Not good in your line of work. Me, I don’t drink on the job. I have a beer, just one at the end of the day. If I had to kill a man that day, I have a shot of Bourbon, with soda, as well. I ain’t killed you yet, so the drink will have to wait."

"You boys … do this for pleasure … or someone sent you?"

Number one scowled at me." I think I need to hit you more. You ask too many damn questions."

He stepped forward and struck me again, another jab to the face. I didn’t try to duck, but roll with the punch. It still hurt like hell, and I felt blood trickling down into my mouth from my nose.

While I was still congratulating myself on avoiding most of the damage, he hit me three more times, a left to the face and two more hooks to the stomach, and then when I went over on the ground, a kick to the ribs. I figured my congratulations had been a bit premature. He was younger and faster than me, and stronger, and enjoyed hurting. Even if he decided to start playing by Queensbury rules, I was probably too damaged now to do anything but stop more punches.

"Okay, Mikey," said number one, "Search this dump while Mr Callaghan rests."

I was aware, vaguely, of the big one moving about, pulling open the filing cabinet and throwing stuff out of the drawers. The pot plants crashed into the corner. The desk was pulled back away from me and then up ended. Mikey was doing a quick, thorough job of winding up my business.

Big hands grabbed me round the shoulders and scooped me up onto my feet. Generously, they held me up as well. Number one thrust his face up close to mine so I could smell his breath, which wasn’t sweet. "We’re taking a little journey, Callaghan. I’d love to kill you here but there’s someone else wants to see you and have a chat before you die."

I kicked out at him, had the brief satisfaction on making contact which his knee cap, tried to break free of the huge troll holding onto me. Number one swore. I butted backwards and felt the troll’s nose flatten. I managed to get a hand free, swung it at number one and got a glancing blow to the side of his head, stamped down on the troll’s toes. For a moment I got free, lunged at number one and sent him staggering towards the wall, tripping over some of the debris of my business.

I bolted for the door, but my legs weren’t steady and I went down. The troll got me and picked me up by the scruff like I was a kitten. Number one got to his foot, looking evil. He hit me three more time, each time to the stomach. Then the troll dropped me and number one kicked up and down my body for a while, as I wrapped myself up on the floor and tried to shrivel away into the floor.

These were Tony’s Santosa’s boys, this was just a taste of what was waiting for me.

I was aware - more or less - of being picked up again, once they were sure all the fight was gone from me. The big one did the carrying, like I’d predicted earlier. I heard the door of the office bang and the wheezing groan of the elevator, though that might have been me. I was thrown into the back seat of a car, my hands wrenched behind me and tied. I passed out there for a while. I came back to consciousness briefly, managed to crane my head up to look out the window – we were out of the city, passing through arid looking land where not much other than scrub grew and there weren’t houses. It looked like a nice day out there. I slipped under again, it was better than thinking about what might be happening to me.

Diversion #3: Fights

Every story needs conflict, right? Well, nano stories need more than most.

Fights are great for many things. They allow you to develop character by showing how a protagonist responds to danger. They bring people together, as bonds formed during a confrontation are likely to be strong. But forget all that waffle. Fights are great fun because people are thumping each other, often with large, heavy objects, and they positively eat words.

There are essnetially two sorts of fights in fiction. The first typie is the Motivated Fight. This is where the fight serves a useful plot function, say, a confrontation with a major antagonist, or where a major change takes place. Think of the fight with Orcs at the end of The Fellowship of the Ring. That was a motivated fight, with huge impact on the plot. After that scene, the fellowship was split, Merry and Pippin kidnapped by Orcs, Sam and Frodo on their way to Mordor, and Borimir dead. The story was changed forever by that fight.

Then there are Unmotivated Fights, where suddenly Orcs jump out of the bushes screaming blue murder, get hacked to pieces by the heroes for a thousand words, and then things carry on pretty much as before. This is the sort of fight I'm referring to. They are an excellent way to use up words. They are entertaining to write, if you have a taste for gore. And, yes, they can help you develop character and all that other stuff as well. But, most importantly, if you're stuck in a plot hole, a good bit of random violence might help you meet your word count, without advancing the plot at all.

Sounds cynical and cheap? You bet. But if you need some literary justification, noir writer Raymond Chandler remarked, "When in doubt, have a man come through a door with a gun in his hand." In the novel Red Harvest, the other great hardboiled writer, Dashiell Hammett titled a chapter 'The Seventeenth Murder.' You can't tell me all of the others were essential to the plot.

Some genres lend themselves to this sort of thing more than others. Fantasy stories can be very violent. Westerns can rack up body counts similar to small wars. War stories are almost required to have unmotivated violence. Hardboiled murder mysteries will keep the morticians in business for months. In other genres, however, you might have to try a bit harder. Psychological cruelty, arguments over nothing, petty family feuds that have been going on for years, all fall into this category. If the members of your fictitious family aren't the sort of people who'll beat each other with morningstars or shoot holes in each other, they might be the sort of people who view Christmas dinner as an opportunity to air grievances, quarrel and torment each other. Watch Who's Afraid of Virginia Woolf? to see how far this sort of behaviour can go.

My private eye, Jack Callaghan, gets at least one gratuitous beating in each story. It helps keep him in his place, and it helps maintain my sympathy for him. Here is an example (1) of him getting a clobbering. It isn't necessay at all, as the people adminstering the beating are only supposed to be kidnapping him. I could have written "They jumped on me and a big gorilla twisted my arm while his small friend poked a gun in my ribs. They made me get in their car and we drove off someplace," but since I needed more words, I added in some fisticuffs and general nastiness.
1 - If the link doesn't work, try this URL: http://writehandpalm.blogspot.com/2007/11/jack-takes-hiding.html. Or check out the archive for November, 'Jack takes a hiding.'

Friday 2 November 2007

Guidebook

Angie came back with two steaming mugs of coffee. She nodded at the guidebook "Any good?"

"Interesting” replied Bob. “The person who wrote it is obviously a pig headed idiot. He’s obsessed with what he call 'the Dutch mercantile instinct' which apparently informs everything a Dutchman does. It’s very funny. Listen to this."

And he read from the book.

The canal and the dyke are the central symbol of Dutch life. Infact, they illustrate neatly the psychological landscape of the Dutchman. The canal is a trade route, a means of moving goods to and from markets, of course, but it is also a symbol of what a Dutchman sees as good: it is orderly and calm, in a word, regulated.

Regulation appeals to the Dutchman, who is at heart organized and likes control. The dyke separates the ordered world of Amsterdam from the chaos of the sea. On the one side, nature tamed and ordered, regulated to mercantilism by Dutch ingenuity and pragmatism. On the other side, a mass of uncontrollable water, that threatens to overwhelm the dykes and wash away all the order and commerce that the merchants of Amsterdam have so carefully built up.

He put the book down in disgust. "It frightens me that people actually think like that. I wonder if he actually came here at all, or just wrote down stuff that he thought was true."

Angie shrugged. "Quite frankly my dear, I don’t give a damn."

*

"We need to plan a bit more, I think" said Angie. "Maps and stuff. Work out where we want to go, and not dawdle on the way. Does this book tell you anything useful, like where to go and how to get there?"

"'fraid not," Bob replied. "Though here on page 96 it does tell you about van der Vondel. Including what he wanted on his tomb." He showed her the couplet and read from the book:
Van der Vondel has been called Amsterdam’s Shakespeare, which is to say he is Shakespeare with a merchant’s sensibility. It is not surprising to learn that he was a merchant and often composed verses to order for the city council, celebrating the success of the city as a port and centre of trade, nor to discover that this verse was of a regular style suited to the ordered tastes of his fellow citizens. Nor is it surprising to learn that the composer of verses found the market for his wares diminishing and died in poverty, eking out his final years as a doorman until he finally froze to a miserable death.
"Shakespeare made most of his money as a grain merchant, and he wrote sonnets to order. So your book is wrong, completely." Angie looked at the cover of the book. "'Trailblazing Travel'" she crowed. "By J Traill. Geddit? What possessed you to buy this book?"

"It was very cheap, much cheaper than the Lonely Planet. I think I know why. At least it has a map."

"Tomorrow you buy a proper book, by someone who actually did more than sit in a café and drink absinthe. In fact, I'll buy it, I couldn’t trust you to not find something even more batty."

*

They went back into town. Angie wanted to see the red light district. Their tram deposited them outside Central Station and they crossed the canal and approached the infamous streets where the city fathers had tried to contain the vice that they could not – or did not want to - expunge.

Bob read again from 'Trailblazing Travel,' which he refused to abandon in spite of Angie’s vehement protests.
Nothing could represent the Amsterdammer’s attitude to commerce than their tolerance of prostitution. The Dutch are not a naturally immoral people, but because prostitution is immorality couched as a business proposition they feel it has to be respected. Anything goes in this city, as long as it is conducted in the form of a business transaction.

Not naturally lecherous, the Dutch accept the presence of lechery in their capital city because there is a market for it. In this, they are less hypocritical than most nations, even those more usually described as liberal or even lax in their moral standards. The Dutchman does not scorn the whore who plies her trade under his nose, if anything he envies her as she is operating on some purer commercial level than he is. She has turned her entire body into a commodity to be bought and sold, something the upright Dutch bourgeoisie can only long to do – in an abstract sense, of course.
"Of course" sniggered Angie as they turned a corner, and it seemed, crossed an indefinable dividing line which transported them from the world of the 'upright Dutch bourgeoisie' into the world of the whore.

*

They visited all the recommended sights. They visited Anne Frank’s House. Mr Traill’s guide book described it thus:

Anne Frank’s House represents an inversion of Marx’s maxim that history repeats itself first as tragedy and then as farce. In the 16th century, Holland experienced one of its occasional fits of national prejudice – much rarer here than in other countries, as prejudice runs counter to the mercantile instinct – and proscribed Catholicism.

With that wonderful streak of pragmatism that marks the Dutch, however, the ban was only a façade and adherents of the Roman faith could worship in private, as long as they did not make any public advertisement of the fact. The most significant of these semi-clandestine chapels is now the museum called the Amstelkring, also known as ‘Ons Lieve Heer Op Solder’ which translates literally as ‘Our Dear Lord in the Attic’ which is situated on Oudezijds Voorburgwal. Here Catholics could meet discretely to worship.

The similarities with the story Frank family’s doomed attempt to elude the Nazi butchers are immediately striking, a grim parallel with the older tale. But farce is reworked as tragedy. The token proscription of Catholicism strikes us as farcical, but the story of the Jews of Amsterdam, represented by the fate of the Frank family, is utterly tragic. And while Catholics were eventually permitted public expression of their faith, the Franks, and many more like them, were annihilated.

Oddly, it is only in the 20th century that Jews experienced such anti-Semitism in this city. Before then it was a refuge of comparative tolerance – the Amsterdammer recognising and respecting the mercantile skills of the children of Abraham and, as a true merchant, not resenting the competition. It is strange to reflect on how our moral sense seems somehow more primitive and under-developed than it was some four hundred years ago.

Reading this, Bob remarked to Angie "You know, I think he might actually have said something sensible there. Some of it, anyway."

Whisky and water

The kitchen door opened and a gaunt head looked through. The suddenness of the newcomer’s appearance made Bob jump. The emaciated head regarded him skeptically and then entered the room, revealing a lanky body beneath it. “Um …’ the head said.

“Dad” said Angie, quickly, breaking off her description of Ann Frank’s house. “Dad, this is Bob.” Bob rose uncertainly, unsure whether to give Angie’s father the bottle of Talisker they had brought with them right away, as some form of peace offering, or wait for a more opportune moment.

“Bob. Yes. Bob. Hmmm” said Angie’s father, regarding him skeptically. Bob had a momentary feeling that neither parent was certain if they should go to the bother of remembering his name. “Bob” said Angie’s father again. “What happened to the other one?”

“Dad!” Angie snapped in exasperation. “That was a horrible thing to say!”

Bob decided to go for it. “Mr. Duffy” he said, stepping forwards. “I’m very pleased to meet you. Angelica” – he could not resist using Angie’s full name – “Told me you appreciated good whisky, so I took the liberty of getting you a gift.” He handed over the bottle of Talisker, wrapped in brown paper.

Angie’s father took what he was offered, regarding the package with some doubt. He looked inside the bag and seemed satisfied. “Excellent stuff” he remarked. “Obviously you know a good whisky. Will you permit me to offer you a dram?”

Bob consented to this, and Angie’s father poured them both generous measures, neat. Angie smiled and winked at Bob. Things were playing out as she had described.

After this dram, and a second from the same bottle, Angie’s father suggested that they try something from his liquor cabinet: “Just to appreciate the difference in taste.” By this time they were in the lounge, a large and very comfortable room. Angie winked again and gave a tiny nod: best to keep the momentum going. So Bob consented to Mr. Duffy’s suggestion, and he opened his liquor cabinet, using a tiny key on a key ring that he carried with him at all times – this information was to be imparted to Bob later in the evening when everything had become much more blurry and slurred.

Angie and her mother were excluded from the whisky tasting. Instead, they took advantage of the opening of the liquor cabinet to liberate bottles of what Mr. Duffy dismissed as “Feminine spirits” – gin, Bailey's and white rum.

“Stuff like that is an insult to a cultured palette” he declared, slopping Lagavulin into fresh tumblers. Bob was already feeling tipsy, but could think of no way to politely stem the flow of whisky. He prided himself on having a hard head, but he was concerned at the volume Angie’s father was drinking and wasn't sure how much longer he would be able to keep pace.

“Now tell me” said Angie’s father, after several different whiskies had been tried. “What are your thoughts on the church?”

Bob had been briefed to expect this question, and had been coached in various non-committal replies. Andy’s disasterous attempt at humour had also been held up as a example of how not to approach this question. Bob looked into his whisky glass, circling the liquid slowly in the tumbler. “I feel people have become too interested in what makes churches different, not in what binds them together” he said, casually.

“Excellent” murmured Mr. Duffy, appreciatively, though it was hard to decide if it was Bob’s answer or the whisky he commended. “There is certainly too much interest in flim-flam” he said portentously. “The real church is a rugged beast, and not overly concerned with trivia, don’t you agree.”

“I think so” said Bob, regarding the material thing in his tumbler that Mr. Duffy valued so much. He was aware than Mr. Duffy had finished his drink and was keen to pour another, so he swallowed the contents. Almost immediately Mr. Duffy was on his feet, gathering the empty tumblers and hunting around for clean ones. They must have an infinite supply, thought Bob. I’m lost. But at least while he’s fixing drinks he won’t ask me any more questions about God.

In this he was wrong, however, as Mr. Duffy turned from where he stood at the liquor cabinet, the favoured malt in his hand and the tumblers on the fold-out front of the cabinet. The question he was posed, however, was odd enough to make Bob forget his irritation at the old man’s questions.

“Would you think it appropriate that whisky be used in church services instead of wine?”

Bob was flummoxed. Angie had not prepared him for questions like this and he felt that he was standing on a trapdoor – was there some hidden trick in the question? There was to be no help from her, however, she was talking with her mother, a process that seemed to involve a lot of hand gesturing and attempts to talk over each other. He decided to play along and see what happened.

“I don’t see why not” he answered, as Mr. Duffy splashed the whisky into the tumblers. “I know there are some churches where they don’t use wine at all, but fruit juice, so I don’t see why not whisky.”

He realized immediately that this was a very dangerous comparison. Mr. Duffy returned with the drinks and regarded Bob skeptically.

“I’m not sure I like your reasoning, young man, if you’ll indulge me for saying so. The reason I asked was because I have been thinking quite a lot recently about Cain and Abel” – Bob was relieved to hear familiar names mentioned. At least he knew who these two were – “And it has occurred to me that perhaps we should pay more attention to that story than we are wont to.”

Inside himself, Bob sighed with relief. The old fellow had obviously wanted very much to talk about something, and had found a route to get to whatever it was that he wanted to say. Bob recognized this from numerous lectures from Max. In fact, he reflected, Mr. Duffy could be an older incarnation of Max. With this revelation, he lost a lot of his fear of the older man and settled back into the established routine of fake attentiveness he used when Max was in declamatory mood.

“You see, Cain’s original crime was not that he murdered his brother, or that he was envious, but that he was found to be wanting in the sacrifice he made to the Lord: ‘But unto Cain and to his offering he had not respect. And Cain was very wroth, and his countenance fell,’ Genesis 4:5. And the reason that Cain’s sacrifice was wanting was because he was not offering the Lord the very best that he had to offer: ‘If thou doest well, shalt thou not be accepted? And if thou doest not well, sin lieth at the door: and unto thee shall be his desire, and thou shalt rule over him,’ Genesis 4:7. So you see why I asked you if whisky might not be more appropriate for the sacraments than wine.”

“I think I do” Bob lied, certain that he would be told anyway. He was not wrong.

“Cain was a farmer and the Lord expected him to offer the best of his crop. Abel was a shepherd, and the Lord expected the best of his new born lambs. Only the best, mind.” Mr. Duffy looked at Bob with a keen eye. “Scotland does not produce much wine.”

“No, indeed” Bob replied.

“We import wine from France, from Italy, from Spain, from Chile, California, Australia, New Zealand. We do not make it ourselves. We make whisky, and also beer, of course.” This thought seemed to throw him for a moment, but he recovered well enough. “But whisky is our premier product. It is what we work hardest to produce and what our hardest work goes into. We do not work to produce wine. We work at one thing, and with the proceeds of that, filthy lucre, we buy wine to make communion with. Essentially, it is money that we are offering to the Lord, a grotesque idea. What would the Lord do with money?” he demanded, fixing Bob again with a surprisingly clear and intense glare, given the amount of whisky he had drunk.

“Umm … Nothing” Bob replied, almost wrong footed by the sudden question.

“Less than nothing” Mr. Duffy declared emphatically. “Money is purely a creation of man, an idea, a nothing. What does God want with our ideas, eh? Do we think he needs our help? It’s arrogance, pure Babylon.”

The tirade was interrupted by the necessity of choosing malt for contemplation. He’s as daffy as Angie warned me, Bob reflected, but he seems harmless enough and I’ve got an idea of what he’s talking about.

“The reason I spoke of Cain and Abel was because we must pay particular attention to how the Lord treated them. You know their importance?”

Shit! A direct question. Bob sought desperately to disinter some memory from childhood bible classes. “They were the children of Adam and Eve?” he ventured timidly. He thought that was right, but he had no idea if it was what Mr. Duffy was fishing for.

“Exactly! They were the first people born, not created by the Lord, as Adam and Eve were. So we can look to their example to see how he expects all other children of men to act. And the message is clear – he expects us to offer him our finest produce, not something bought at the supermarket with money, but something we have created ourselves, with great labour: wine in France, sherry in Spain, and whisky in Scotland.”

“It stands to reason” muttered Bob, though he suspected Mr. Duffy’s stance had more to do with his fondness of a nip than his professed reasons.

“Let’s go for a walk, lad. I’ve drunk enough for now and a stroll by the water will fresh me.”

Bob looked over to Angie in panic. How was he meant to respond to this? He saw that Mrs. Duffy was asleep, over come by the white rum, probably. Angie was watching them with bright eyes.

“Your father wants to go for a walk, Angie” he relayed. “Would you like to come?”

Angie frowned. “Are you sure this is a good idea, dad?” Her tone was indulgent, but he detected a trace of worry, none-the-less. Perhaps they were moving into unexplored territory for her as well? In spite of everything, he felt a wry amusement at the realisation that Angie was as uncertain as he was.

“Of course it’s a good idea” Mr. Duffy retorted, lurching to his feet, unsteadily. “Five minutes one way, five minutes back, we’ll all have clear heads in the morning.”

He was not to be argued with, so they donned jackets in the hallway and shoes on the porch and walked down the dark driveway, leaving Mrs. Duffy snoring gently in the living room with a glass of gin sitting beside her for when she came round.

The shore was only across the road from the house. They turned they walked in the direction of the causeway that connected the island at low tide. It was very dark now, the lights of the township sparkling in the gloom. Bob had to admit that he felt much better outside the house than in, where he had been starting to stifle. He was able to assess his condition now, and realised with some consternation that he was very drunk. He did not know how much booze Mr. Duffy could soak up, but from Angie’s stories it must be a lot. Angie and her mother had certainly drunk a lot, rapt in their own conversation. It chilled him to realise that perhaps Mr. Duffy was the most sober one of the group.

The black water lapped quietly nearby. In the distance he could hear cars on the main road, and closer to hand the dull thump of a bass line. Someone was having a party. Mr. Duffy heard this to. “Listen to that” he exclaimed, gesturing vaguely into the darkness. “That dreadful beat. This is the consequence of Babylon, of money. We neglect to give the Lord the best that we have. And if we don’t think that the Lord deserves the best that we can offer, how can we expect it for ourselves? Everything is debased and vile.”

He turned to face the water and glared out into the darkness. “And it will stay that way until we find our way back into a proper relationship with the Divine. We must get rid of all this flim-flam and approach the Lord like little children.” He paused for a moment, and when he continued there was a break in his voice. Shit, he’s crying, thought Bob, he’s further gone than I thought.

“The Lord is waiting for us to find our way back to Him. He is calling out to us, waving His hands to attract our attention, but we are deafened by music, blinded by money and pretty silly earthly things. We don’t see Him, we don’t hear Him. We can’t hope to see Him or hear Him until we have shed all the foolish temptations of this Earth and look to Heaven like little children.” In the darkness Bob sensed Mr. Duffy was moving as he talked, but he could not see what he was doing. He braced himself to follow if Mr. Duffy ran for it, but realised with a prickling sensation of shock what was actually happening. Mr. Duffy was taking his clothes off.

“Like little children” he said, as he shed his shirt and fumbled with his trousers. “Naked as the day we were born, the first step of the journey has to be a token of our rejection of Babylon. Children are innocent, we should be like them to become like them.”

Angie cried out in horror as she realised what her father was doing. Mr. Duffy was a white blur in the darkness. Bob still stood, unsure, too frightened to grapple with Angie’s naked father. Perhaps, he thought stupidly, he knows what he’s doing. I’m sure he knows what he's doing.

“Bob, stop him!” Angie’s voice broke with panic, a girlish squeal. Mr. Duffy was moving, making a dash for the water.

“Wash the sins of the world from me” he wailed as he splashed into the shallows. Bob was chasing him, but the white blur moved quickly into deeper water, an indistinct whirl of limbs against the darkness. The water surged up against Bob’s thighs. Christ, he thought, he’s going right out. His flung his hand made contact with a wrist or arm, but he was so startled that he failed to grab it and it flew away from him again.

The water was up to his waist now, both men were wading slowly through the dark sucking liquid. Bob realised for the first time that this was dangerous. He made a lunge at Mr. Duffy, because soon he would be too deep to do anything more than plod after him, and caught him in a crude rugby tackle around the midriff. Both went down, the water surging up over their heads, and Bob found he was detached from earth and air, with nothing to stand on and water flooding into his nostrils. The only solid thing he had hold of bucked and wriggled like a seal, but Bob clung on even more grimly. In this dark world of stinging cold water he was determined not to let go.

Then his kicking feet touched bottom, ground into the shingle of the seabed and his head burst through the lid of the water. He whooped in a long breathe, staggered as Mr. Duffy and the water did there best to drag him further out into the dark brine. He took long, awkward steps backwards, stumbling slowly towards the shore, dragging Mr. Duffy with him. The struggles of his unwilling burden overbalanced him in the shallows and they went over with a crash and a yell. Mr. Duffy tried to escape back out to sea but Bob got a grip on his ankle and dragged him back onto the land, where the desire to have the sins washed from him seemed to vanish and he lay on the cold grass whimpering.

Bob looked around. Where was Angie? This question was answered a moment later when she came running back from the house. She thrust something at Bob. A towel. He rubbed himself as dry as he could while Angie tended to her father, who had become entirely quiescent. With some effort, they got him back on his feet and they took a few unsteady steps back to the house. The towel was draped over Mr. Duffy’s shivering shoulders.

Suddenly, they were dazzled by a torch beam, shown directly into their faces. “Who’s there?” demanded a quavering female voice. “This is Mrs Hodges, the neighbourhood watch. Who is it?”

The torch beam played slowly across them, and Bob was sure he heard a soft cry when it dropped down Mr. Duffy’s narrow, hairy chest to illuminate his pale, shrunken genitals, barely poking out of the dark nest of his pubic hair.

“Mrs. Hodges?” Mr. Duffy roared suddenly, roused from his stupor. “You whore! You rotten old whore!”

In the Pub

Max was in fine form.

“In my humblest of humble opinions, we are but pawns of our pasts. Our every action is in fact a reaction to what has just happened, to what we have just done. We are always playing catch up with ourselves, but we can never quite get there.”

They were in the pub, though it was still a bit shy of two o’clock in the afternoon. It was the logical place to be. There were worse places to be. Max could have been at work. Neil could have been at home in Jedburgh. Bob could have been ... anywhere. It wouldn't have made much difference. Instead they were in the pub, and they had been there for almost an hour already.

On the table in front of them lay the remains of a shared meal – plates of chips, mostly consumed, smears of blood and sauce that told the story of the lunch just eaten. Walling in the greasy plates were pint glasses, empty and half full. The boys were settling in for the day.

Max was in fine form. He had started orating about five minutes ago, taking as his topic destiny and doom, which was his usual theme. This time at least he had surprised them in two ways. First, the speed with which he had imposed his monotonous rambling on them. Secondly, by the fact that he had not mentioned God once yet. For a frequently avowed atheist, Max talked about God quite a lot.

Max would often talk about things in this style, long rambling monologues inflicted upon anyone as soon as he felt he had an audience. Most people learned to walk away, but the group gathered here today were innured to their friend’s raving. Besides, they had drink to drink and leaving Max would have entailed abandoning their booze.

The pub they were in was an establishment on a very fashionable street. This was the wrong end of the street, however, too far down the hill to be patronized by the clubbers and party crowd. Instead it was a down-at-heel sort of place that served a population of self consciously arty and vagabond types, mostly male, and a hard core of elderly drinkers of both sexes, who would coalesce in the early evening and sit at the bar glowering at the bright young men who had got there ealry and claimed the booths.

Max was in fine form, but his audience was ignoring him. There was football on the television set above the bar and they were focused on that. Even Max was following the action on screen as he talked.

Though the bar was almost empty, they had chosen a booth near the toilet, a strategic consideration from which they hoped to benefit as the night wore on. As the night wore on, they also hoped to build up a tolerance to the fetid stench emanating from the toilets. This might explain why they were drinking so fast.

They met at this pub because it was conveniently located for all of them except Max. Max lived far to the south, in Marchmont, but professed to enjoy the long walk across town. Neil, who was in town for a week, was staying with Max, and did not enjoy the walk, but did not say anything about this to anyone.

“We are haunted by our pasts” said Max, dramatically. On the television, a goal was scored and the camera showed muted scenes of celebration on the nearly empty terraces. “We spend, I calculate, thirty three per cent of our conscious time ruing what we did and thirty three per cent ruing what we did not, which only leaves one third of our faculties to think about what we should be doing just now. With this in mind, it is not surprising that what we do in every second leads to yet more pointless pondering in subsequent seconds. It is a cycle that it is hard to break. We spend our time ruing what we did or did not do, and as a result of this lack of concentration, commit yet more mistakes which in turn occupy our minds. So mistakes begat mistakes. Fleas have littler fleas upon their backs to bite 'em.”

Max paused to imbibe. “So we spend too much of our time thinking about how we stuffed up trying to chat up some wench last night, and while we are thinking about that another one slips through our fingers tonight. Then tomorrow, we make the same mistake again, thinking about the one we missed tonight.” Max hesitated a moment, looking confused. “We have to live in the moment. To Hell with the past. And to Hell with the future. If we can’t concentrate absolutely on what we are experiencing right now this second, we are doomed. Either we spend our energy flagellating ourselves for our past mistakes, or quivering with terror about what might happen.

“Because that is the other extreme, all too common, all too common. Ninety per cent of human beings spend all their time thinking about what went wrong in the past. The other ninety per cent spend all their time worrying about what might go wrong in the future, if they so much as dare to step out of the door. Someone once said: there are two things in life not worth worrying about, the past and the inevitable. Well, it seems to me that we spend all our time doing just that.

“And another wise one once said that history is doomed to repeat itself, the first time as farce, the second time as comedy. Well, we have to learn to laugh at the comedy of our lives. Whatever happens, we will inevitably die. Anything in between that might possibly go wrong, diminishes in the light of this one truth. Who cares about wenches missed, if in a few years there will be no more wenches ever again? But we must not worry about it, remember, because it is inevitable. And if death itself is not worth worrying about, then what is?”

Max’s speeches usually ended this way, as long as someone was quick enough to buy him whisky and stopper him with it before he had time to find his thread and start again. Neil obliged on this occasion, buying whiskies for all. One reason they liked this pub – and Max stated this loudly on almost every occasion when whisky was bought for him – was that they still served whisky in old measures, “Proper measures” declared Max approvingly when he say they glass in front of him. “It’s nice to get a proper dram. You can tell the difference between a proper dram and a … a … an improper dram” he continued, vaguely. “A proper dram wets the back of your throat. An improper dram barely wets the bottom of the glass. And mysteriously, in many pubs in this town, the improper dram served the day after the measure changed costs the same as the improper dram served there the day before. Did I get that right?”

“Shut up Max” said Bob, absently, watching the football. Max looked at him venomously and went to put some songs on the juke box.

Diversion #2: introducing Max

Max is a character who appeared in the first extended piece of fiction I wrote. He was a pretentious, annoying fellow, prone to holding forth on topics that were of no interest to anyone but himself. He came to an unpleasant end, when he was (willingly) buried alive by his drunken friends. What can I say? It was an odd story.

Max has lived on, however, inspite of his demise. He came to my aid in my first nano, when I started two weeks late and without a plot. After muddling my way through the first 4000 words, I was stumped. Then Max tapped me on the shoulder, and said, "I'll take this bit."

So I wrote him into the next scene, which took place in a pub. Max talked for a bit, and by the time he finished, I'd thought of something else to do.

So if you're stuck, feel free to borrow Max, or invent your own equivalent. He's a talkative chap he doesn't care too much that no-one is listening to him, and if anyone was listening, they'd soon realise he's talking nonsense. But for all his pretentions, he's a useful chap. You can use him to rant about a pet peeve, or discourse on a topic you know something about, outline an obscure (and irrelevant) conspiracy theory, or whatever suits your mood.

I used Max on three seperate occasions in 2004, my first nano year. The pub encounter can be read here (1). This is the most straightforward way of using Max. Put him a pub with ample booze and let him hold forth.

Another occasion I used Max that year was in the guise of my female lead's father, a pretentious, over-intellectual churchy type. This scene was great fun to write (2). I simply thought of an outlandish idea - that whisky should be used for communion instead of wine - and tried to justify it. Though not identified as Max, the main speaker is merely my old friend in disguise.

Even more intruigingly, Max turned up again in book form. On a side-trip to Amsterdam, my character's bought a cheap guide book, and the voice of Max blared off the page. Though read over several chapters, the extracts are compiled here (3). And on this occasion, as a reward for being so helpful, I allowed Max to say something moderately insightful, instead of his usual pretentious nonsense (4).
1 - If the mebedded link doesn't work, click on this link: http://writehandpalm.blogspot.com/2007/11/encounters-with-max-in-pub.html
2 - Follow this link: http://writehandpalm.blogspot.com/2007/11/whisky-and-water.html
3 - The extracts from the guidebook can be read here: http://writehandpalm.blogspot.com/2007/11/guidebook.html
4 - If you are impressed by my knowledge of Amsterdamn, don't be. I went to the library and borrowed a Rough Guide to the city and a book of photographs of Amsterdam street scenes.