Reader Friday: What would you ask a Kenyan runner?

Yes, this is a cheap trick to get somebody -even family - to comment on the blog. Not that a lack of comments will stop me from writing it, but I'm feeling a need for human interaction. Normally when such a feeling hits, I go for a run but I did another eight miles with 2000' of gain yesterday. Today's a gym day . . .

So, to the point.

If you could go to Kenya and ask someone there any one question, what would it be? Would it be a particular Kenyan? Or would the man/woman in the street do?

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The Lonesome Mile, Chapter Two

As I've done with my other books, I'm putting up the early chapters of my current work in progress. This one is titled The Lonesome Mile. With the others, it was a single chapter. This one I've opted to put up a little more as there are a few more characters to meet

In Chapter Two, we get introduced to Nick Capelletti, an Olympic miler, living in Colorado Springs. Chapter One was here if you missed it. . .

Chapter 2

A brightly shining crescent of the moon showed like a crack between curtains, the thin sliver too slender to illuminate the lonely runner speeding through the night while everyone else folded for the night. Nick Capelletti’s eyes had adapted to the nearly nonexistent light early in the run. He followed the recreation path from the house and turned left off the trail that paralleled Monument Creek. He had no difficulty navigating the transition from the recreation path to pavement, the feet sensing the change is surface and making the minute adjustments to compensate. He jogged away from the gurgling water and into the dark past the El Pomar Athletic Center.

The black metal gate to the track was open and he eased out to the outside lane, running clockwise. A shadow flitted against the pale concrete of the spectator stands on the far side of the track and Nick focused. He had expected—wanted—to have the track to himself. He came around the far turn, down by the soccer field, and saw he was catching the other runner. He was used to running up behind other runners. There were a few dozen in the world that were hard to catch. Everybody else was road kill.

At least he’s got some manners, thought Nick, observing the runner sticking to lane six, the farthest outside lane on the track. As he closed almost silently on the other guy, Nick saw that he was local-5K-fast, someone that probably was training consistently. It didn’t occur to him to note that he had made the judgment on nothing more that the motion of the shadowy runner.

When he was ten yards away, Nick called out to him, keeping his voice low.

“Runner on your left.”

Nick watched the guy jerk at his voice, clearly surprised and twisting at the waist to search around him. A pale face, youngish, showed before the man turned back to continue his run. Nick heard the swishing sound of tech fabric as he came up beside the man.

“Thanks,” said the guy.

Nick passed him and shifted gears. The three mile run to the track had loosened tight muscles and ligaments, warmed them in preparation for the hard work ahead. He had a week of worry to the time trial itself. Tonight’s test only meant something for him, an opportunity, away from the eyes of coaches and competitors, to measure whether he healed. Nick took a couple of deep calming breaths, focusing his eyes on the white lines of the track.

Nick swept into the turn and leaned, speeding up again and his legs responded with a surge of power but he felt out of balance. His coach and the trainer had put him into an intense rehab after the injury and the accident. Four times a week, Nick was in the training center in downtown Colorado Springs, hitting the weights in specifically targeted exercises. Levi, the trainer, a short, impossibly wide man, designed the program and was there cajoling him to do one more rep, drive the knee again, until Nick hit exhaustion with quivering legs and arms.

“We can make you better than before,” said Levi, only half-joking.

Nick pushed himself as hard as Levi did, attacking the lifts. His power output increased and the physical therapist manipulated the ankles and knees, working all the way up to the hips, to restore the range of motion an elite miler needed.

 A year.

That’s how long the double rehabilitation took. A year without racing, four months without running a step.

Nick hit the backstretch sitting at a comfortable 5:00 pace, breathing easily still. He flashed past the other runner who had stopped by the gate and was watching him. He eased the pace back down and finished another lap. He slowed to a stop and steam lifted from the sweat on his skin. He loved the vapors, a sign of  his muscles working hard, the physical manifestation of the heat inside. It was like a powerful engine at idle, the thin tendrils of perspiration rising in warning of impending flight.

He didn’t do any striders or stretches and he skipped the rest of his pre-race ritual except the focus, finding the source of heat deep inside. His breath quickened as he walked towards the start line, anticipation flowing down his chest, to his gut. There, all the anger at being a frickin’ invalid ignited and he molded it. He paused at the start, hand hovering over the watch on his left wrist, then launched from the line, the watch beeping once as he punched the button that started an inexorable count of the seconds that would tell him if he still was Nick Capelletti, Olympic miler or . . .

He shied away from the ‘or’ and dropped his gaze to a point 15 meters down the polyurethane surface of the track, white lines stark against the red-black. He leaned into the first turn, exhilarating  in the raw power of the start.

This, he thought, recognition of how much he missed the pure animal joy of running.

A shadow crossed the infield of the track. The guy was sprinting to the start line.

I’ll run his ass over! thought Nick and the anger of another runner interfering with him added to the heat.

He looked up the track coming out of the second turn. The guy was just standing there, along the grass verge.

The first lap was all juice and the initial burst of excitement faded as he finished the first lap, his body remembering the shock of a hard mile.

“59, 60, 61, 62 . . . ”

The doofus was calling splits for him.

Nick buckled down to the second lap. The sensation of running like he was on bowling pins with all the new muscle disturbed him. Months of lifting, through sequences of progressive overload, to rebuild the joints and tissues and now he out of sync, form shot, with a surplus of power. In the back of his mind, he worried and monitored his left ankle and knee. No pain . . . but they didn’t feel right. Nothing felt right.

“2:03, 2:04, 2:05 . . .”

Chest tight, Nick flew into the lap three and fought the urge to accelerate.

Too soon.

The sweat dripped off him. He churned his way through the turn and the familiar pain began low against his ribs as he gathered air as deeply as he could in his powerful lungs. The base of his neck ached from tension and molten lead infiltrated the thighs.

He had been here before, knew worse would come, and welcomed it. His focus narrowed to just the track ahead of him and he surged, tried to surge, but, detachedly noted that he barely held pace. A hot fire lit in his chest, from the burning effort but not from deeper, from the place that gave him his edge.  The violent energy of that buried anger unleashed was missing,

The kid was shouting but Nick didn’t hear him. The pain was everywhere, calves, thighs, heaving chest, thumping heart. A single lap.

Exiting the next-to-last turn, a twinge struck, left knee, outside plane and behind the joint. Involuntarily, he slowed for a stride. Frustration fraught with fear fueled another attempt to surge and this time Nick felt the slight acceleration and leaned into the next turn.

Nick grimaced, though the knee held. The twinge faded on the straightaway but a residual fear lingered, that after all the fricking work, the hours in the gym, easing back into running trying to minimize the limp . . .

Focus!

Cursing internally, Nick looked down the track. The kid stood there, shouting either splits or encouragement. His white blob of a face floated in and out of Nick’s vision as the miler burst into a full sprint. He fought to maintain control the legs, all that power, don’t forget to use the arms. Drive, everything right now . . .

He punched the button on the watch, stumbled two steps past the line, and caught himself before he toppled. He wobbled to a halt.

Nick was breathing hard and the sweat drenched his shirt. He turned his wrist but the face of the watch was too dim to read. The heaviness in the quadriceps faded in seconds, replaced by a sense of weariness. It wasn’t the quivering weakness that lifting weights induced. Instead, his legs possessed a welcome twitchy tiredness. He began to walk it off, transitioning to a slow jog.

Behind him he heard footsteps.

The doofus.

The kid caught up to him, dropping beside Nick and matching him stride for stride. Neither of spoke.

The strength returned to his legs fast, too fast. He twisted his arm, reaching to hit the button to illuminate the time. He needed to know that number but inside, he sagged, knowing that it would be slow. A good mile never felt this easy afterward.

The kid saw the motion and said, “4:06.” His voice was quiet in the darkness. Nick could hear awe in the undertones.

The sagging feeling became a rock of discouragement. He shook his head.

“Your last lap was a 58.” Awe and reverence.

Started too slow and sucked on the third lap. A recipe for a crappy mile. He sighed and looked at the kid. With a start, he saw that the other runner was struggling so he throttled back.

“What are you doing out here, kid?”

“Just running to blow off some pressure,” said the kid, with a shrug. “Some of the classes are kicking my ass and this is about the only time I can get out the door.”

The sound of their shoes on the track surface filled a short silence.

“I’m Matt,” said the kid.

“Nick.” He didn’t elaborate.

“You always been able to run like that?” Matt asked the question hesitantly, like a parishioner seeking an audience with a cardinal.

Hero worship bothered Nick but he couldn’t see way to deflect Matt without coming off like a jerk.

“Used to be faster,” Nick said. Like in high school, he thought but didn’t add.

“You a student here?” asked Nick, pointing up to the lights of the nearby residence halls with jerk of his head.

“Grad student.”

They keep getting younger, thought Nick. The uncomfortable truth, that they weren’t getting younger, he ignored. He had come to the Springs seven years ago, at the behest of his coach, Burt McAllister. Living and training at altitude had long been considered on the major advantages that enabled the Kenyans to so thoroughly dominate the distance running events.

“Are with the OTC?” asked Matt, referring to the Olympic Training Center.

The kid aint’ bashful, Nick thought. He sighed and deflected.

“What’s your thesis?”

“I’m in the neuroscience program. I’ve got a study that I designed that we’re just starting—” Matt sounded apologetic and a bit out of breath, so Nick slowed some more, “—it’ll take a couple of years. I was planning on getting it done faster but they keep adding more crap on top of what I have, it’s killing me.”

Nick smiled in the dark.

“Yeah, I hear it can be like that.”

“Yeah.” Matt was quiet, then said, “It’s just kicking my ass, setting up the study . . . the classes are cake. Trying to maintain all the privacy standards and permissions . . .” He left the rest off in a frustrated sounding exhalation of breath.

“What’s your advisor say?”

Nick sensed a shrug from Matt.

“Thinks the thesis premise is interesting, really challenging. She’s pretty good, actually, intelligent as hell,” he hesitated, and added as an afterthought, “kinda cute, too.”

Nick grinned as Matt paused, embarrassed at the non-PC admission.

Matt talked faster. “I get that she’s trying to get me to set everything up right now so I don’t have trouble later. She thinks of crap that never occurred to me, how to remove influences that’ll skew the results.”

They reached the gate and passed through. Nick came to rest, feeling the relaxation that came from running, the temporary taming of the internal demons. He rolled his shoulders to release the remaining tension. Matt stopped next to him, looking uncertainly up Cache La Poudre Street as though he should leave but was reluctant.  

 The lone street light shed enough light that Nick was able to see Matt clearly for the first time. The kid stood an inch or so taller than Nick, maybe 6’1”, with a slender frame that seemed to slope downhill from the point of the left shoulder to the point on the right. The academic effect was enhanced by the rimless glasses and an unruly mop of dark hair.

“Want some advice,” asked Nick, “on running, that is?”

“Sure.”

“Stop trying to fight your body. You’re messing up your form trying to keep everything lined up. You’ve got a short right leg but you’re pulling in your left elbow to keep it from floating and it’s knocking you off balance.”

Matt looked a little stunned.

“I do?”

“Yeah. My undergrad was kinesiology. Handy thing for a runner.”

“I guess.” Doubt clouded Matt’s eyes and they narrowed. “Is that what you do, coach?”

Nick laughed.

“No, got other things to do.” He paused. “Want another piece of advice?”

“As long as you’re not going to tell me something else is short, sure.”

Nick laughed again and stuck out his hand. Matt took it.

“Trust that advisor of yours,” he said as he delivered a firm handshake “Dr. Capelletti is a tough woman to please but she’ll make sure you get where you want to go.”

Nick released Matt’s hand and turned to leave, already shifting his weight forward to run. Behind him, he heard a fast intake of breath.

“How did you know my advisor was . . . ?”

Nick passed beneath the light, watching the shadow shrink below him and then lengthen to a fast-moving dark silhouette slipping into the night. Matt was a bright kid, he thought and almost laughed again. He’ll get it. As he reached the path and turned right for home, he heard Matt shouting.

Capelletti?  You’re Nick Capelletti?

God, I hope so, thought Nick, and a sick feeling returned, that the fire was gone. Instead, ache sat in his chest.  Like a recovering addict eyeing the alley where he bought his fix, the images of championship races, all speed and fire, played in his head, a needy remembrance of succumbing to the rage. He shook it off with a quick shake of his head and kicked it up another gear, headed home to his wife, Dr. Ashling Capelletti.


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Proof of New Book on the way

The proof for Trail of Second Chances is on the way and should be here in a week. Give me two days to make sure I didn't introduce any egregious errors in to the formatting process and we should be ready to put it up for sale.

June 30th publication date holds. If you would like notifications when I have new books coming out, sign up for my newsletter. Since I hate to be pestered, I won't pester you. I only send out newsletters when new stories are ready, when I have something to give away, or when I'm traveling to a different part of the country and available to speak at events.

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How would I write that?

Finishing an online class (Character Voice and Setting) with Dean Wesley Smith and he offered a piece of advice in the final video. When you are out in public, pay attention, watch people, what they do, what they say, how they say it - and then, think to yourself, "How would I write that?"

Dean runs the class over a six week period and imparts a ton of really useful craft advice while simultaneously shifting your perspectives on both writing and people. It a tough class, and yes, there's homework. I only recommend taking it if you want to become a better writer and want someone to give you specific advice on what your screwing up and why. On a good day though, you might get a note that says you just nailed the assignment.

I also recommend note taking. Lots of information there and I've watched some of the videos three and four times.

If you are interested in Dean's classes, head over to his website. The man is incredibly prolific so there's always new content there.

In the meantime, I'm going to get some work done, go for a splashy run in the rain, and then, to the store. Shopping for dinner will take a little longer. I expect to get distracted as I wonder to myself, How would I write that?

And then figure out why.

And how I could tweak or twist it.

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I need to go for a run . . .

No real comment. Just, the weather stinks and I'm tired of the gym and the ideas don't come until I get out on the trails. Also ready to be done with the latest class. Learned a lot but I need to get back to my stories, my characters. The class I've been taking is a craft class on writing better characters. The biggest lesson for me hasn't come directly from the class. It came because of it.

I write the characters I do - Callie in Finishing Kick and now Becca in Trail of Second Chances, Gracie when I get to her, Pete Archer who's waiting patiently at the start of The Lonesome Mile - because I care about them and their stories. When Callie is learning to be the leader that her team needs her to be, I'm cheering when for her. When Becca is struggling with her dad as her coach, I sympathize - and think of my poor girls, who handled it so well.

Some writers, James Patterson for example, outline the story and hand it off to someone else to write. He has (reportedly) a whole stable of people who will work with him on this. Other writers are very, very good at developing the stories within a framework, like the old writers of the Nick Carter series or Star Trek.

But I'm not that type of writer, at least for now, and I'm pretty sure I don't want to change that. The folks in my books are nearly real to me and, if I ever get enough skill, I hope that they become nearly real for my readers.

Which I think numbers about six people right now, but it's a very loyal six. That makes it worthwhile.

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What was the first novel you ever read?

The Way to Dusty DeathI just got in a couple of books (okay, 14 books but most of them were non-fiction) that I ordered, one from the UK. That one was "The Way to Dusty Death." Written in the 1970's by Alistair MacLean, this was the first novel that I ever read. I was ten at the time and was considered to be a very poor reader. More on that later. . . I read the book in a single sitting. MacLean didn't waste much time or wordage with anything outside the storyline. Compared to his contemporaries, there is no sex and no vulgar language, just non-stop action in faraway places. In short, a safe book for a 10 year-old boy with an active imagination.

The copy that I got, used, from The Orchard Bookstore in London, was in good condition with that mustiness that comes from an older book. A second printing, it had a different cover than the one that I read all those years ago in Australia. Inside the covers, though, it was the same story.

Because it was a UK edition, the language and punctuation were both customized to that country. The language I noted immediately. Using tyres for tires bothers me not in the least and there were a dozen more examples of the differences between English and whatever it is that the blokes in the UK call what we speak.

It took me 30 pages to realize that the punctuation was also different than used in the States. It was little things - using a colon to transition to dialogue, as in:

Dunnet said: 'Well, I suppose we've got to face it sometime.' MacAlpine said: 'I suppose.' Both men rose, nodded to the barman, and left.

And the quotes. In the States, we use the " to indicate speech. If you didn't see it, look at the example above. A single ' for the dialogue.

So I noted it in page 30 (or so) and promptly forgot about it, moving back into the story which, pleasingly, has held up well.

I've reread some of my childhood favorites and not all of them has. E.E. "Doc" Smith's Skylarks of Space series is one that has not translated well into the modern world. Written at the beginning of aviation, the science has become outdated and the characterizations almost Victorian. Some of the presumptions of society, the rich playboy who owns his own biplane and lands where ever he likes is a remnant of a bygone era. I haven't read any of the old Doc Savage novels but I wonder if they don't suffer similarly.

The Way to Dusty Death is set in Europe (still around), features Grand Prix racing (still around), drugs (still around), and a pretty girl (thank goodness they're still around!). Some of the attitudes are old-fashioned but still recognizable unlike Smith's series.

And I find it sad that no one writes books like this anymore, with generally strong story-telling. MacLean didn't spend pages discussing the role of the rear outside stabilizer in a race car and the effects of damage to it a la Clancy who quite literally did spend pages on a new propulsion system in The Hunt for Red October. Not a complaint against Clancy, it's just a different style, one that introduced a whole new sub-genre, the techno-thriller. Nope, MacLean sabotaged the stabilizer, caused the crash, and off we went. Cause, effect. No engineering degree required.

He also didn't go into great detail about a punch. Lee Child has his punches last for paragraphs, from calculation of time to initiate action, consequences, launching the strike, the muscle movement throughout the arm, the moment of impact, the effect of impact, the aftermath of impact . . .

MacLean's version: Johnny Harlow gets hit by a sap.

And again, we move on with the action.

And, for a young boy, one that's not a great reader, action was what I wanted along with heroes. I mentioned I was considered a poor reader at age 10. I was, though I knew the mechanics of reading. Then we moved to Alice Springs, Australia. Interesting point about the Alice at that point in time. There was no TV. None.

Plenty of sunshine and more open desert than a pre-teen had time to explore. It's amazing that none of the kids I hung with ever got bit by a spider or a snake, considering we'd go hunting for them. Or that none of us fell off a cliff rockclimbing -  though Phil Decosta tried once.

But no TV. As a family we played a lot of cards and learned to shoot darts. But those require other people.

Reading doesn't so, against my mother's wishes, I started reading comic books, began devouring them. This was before comics became graphic books. Back then, they were just comics, Sgt. Rock and the Archies and the Green Lantern.

We were in Australia six months when I saw a book, black cover with a silenced gun, that caught my eye. No one told me it was an adult book and beyond my reading level. My mom saw me reading it, nodded, and left me to it. Today, a teacher would take it away and give the kid some pap that he'll toss on the desk and ignore. But that book was my first novel. . .

That book was a turning point. In a very short period of time, I went from not reading to reading 1-2 pulps a day. I wiped out the entire school library, primary and secondary, of the thrillers and sci-fi in a couple of years. Also knocked out the sports stories. Dabbled with Leon Uris and Michener.  Decided that Michener must have been paid by the word and moved on.

I visited the Moons of Barsoom, the jungles with Doc Savage, and wanted to be the Grey Lensman or James Bond. I fought the mafia with Mack Bolan, became the Destroyer with Remo Williams, and visited Rama with Arthur C. Clarke.

I loved books, or more accurately, I loved stories and read voraciously to soak them up.

All because I picked up a book and nobody took it away.

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Victoria's Secret

Just a short note on something that struck my funny bone that I got from Victoria's Secret.

I got a flyer - addressed to Paul Duffau, not my sweetie - from Victoria's Secret. I don't know why unless it has something to do with mentioning the chain in Finishing Kick. Or maybe it's because I write books for young ladies (who run) and have to channel my inner girl when I write.

They were offering a "FREE V-Day Lacy Thong" if I bought a bra.

I decided, based on the models, that the bra would not fit and really, it's not my style. At all.  My sweetie said she never, ever wanted to see me in a thong, either.

Seems reasonable. But it did give me a pretty good chuckle.

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NaNoWriMo

Below is a letter that I wrote about National Novel Writing Month (NaNoWriMo) which is every November, during the last such occasion. Lost in the blitz of 50,000 words in one month (very doable!) was a point that bothered the hell out of me. When in doubt, seek out a wise woman . . . Sorry to trouble you with an email rather than post to the comments of your NaNoWriMo post but didn’t think that the comments I had fit the discussion. Fast background – I’m a new writer, in my 50’s, male, far less than a million words of crap written. I don’t have time for a million words of crap.

I put words to paper before I learned any craft-and that I’m learning from books, James Scott Bell and Dwight Swain and James Gardiner. Just reread/listened to Steven King’s On Writing.  Despite the presence of two colleges and two universities, there do not appear to be craft classes in my region. The writers that I do meet (often during the day job) are engage in a fanatical pursuit of literary recognition.

I’m not.

I started writing fiction because I couldn’t go for a run without a scene building in my head that would bring tears to my eyes and my run to a halt. So I attempted to exorcise the beast by writing a prologue-and it made people cry. And the beast fed on it, so last year about this time, I sat down and started pouring it onto paper and, in June, had a novel. I fixed my more egregious errors and handed it to family and a pair of 13 year-old girls that I help coach during cross country season.

Family cheered, cried, and declared it good. In the family of one beta reader, it caused a fight. I’ve coached all four girls, and the youngest was the one that had the book. The others swiped it, read ahead, talked about plot and characters and funny bits; tears ensued and rules were set up so that Carmen could finish first.

All of which is great validation but scares the crap out of me.

I know my craft isn’t solid. I stand in amazement of truly gifted writers and respect both the genius and the dedication it takes. I’ve taken several of Dean’s classes, primarily those orientated towards the business side to be able to bring a product to market that exceeds standards. My goal, stated to my cover designer, is to put out a product that is as good, or better, than what the Big 5 consider acceptable.

One of my jokes is that I’m an ultrarunner because my primary skill is being too dumb to quit. It works for writing as well. The day job helps, too. I get called an idiot often enough that it no longer raises a hackle. In both, I know how to improve.

In writing, I’m trapped between worlds. The number of good classes out there seems to be in inverse proportion to the ever-expanding number of offerings. The higher status workshops will never take me – not only do I lack the requisite MFA, but I lack even the university pedigree. The workshops that promise skills often too often seem intent on teaching the skill of wisely selecting courses that will cost the least in lost lucre and time. They are, however, profitable to run as are ventures such as Author Solutions.

You and Dean have some courses that I’ll be taking as does David Farland. After that, it seems a bit thin. I generally rule out anything promoted or heavily influenced by agents.

In the meantime, I am running out of books that seem worthwhile. Some seem downright awful. Most by literary writers are neurotic as hell which gets a little tedious. The blogs are worse.

After that, where does someone stuck (willingly) in the middle of nowhere go for training. I don’t need a pat on the back – I have long arms, I can do that myself. I need someone honest enough to kick me in the teeth and point out what I must do better to be a successful writer.

I don’t count success as a best-seller or in money though I’ll take both if they come along. My books are landing in the valleys situated between the genres. Either they’ll become highly successful niche books or they’ll disappear soundlessly.

My ego is such that I expect the former. I know you caution – as does Dean – against expectations too high. But I’m defining success my way, and, if I land in that perfect space where people yearn for a literature about them, I’ll sell a book or two.

I want my readers to feel what I feel. I’m not asking for riches or recognition, I just want the girls (most will be girls, which is ironic to this middle-aged man) to lose themselves in a world that was created for them, that’s authentic to them, and be inspired.

And the early readers are saying that they are, even if they don’t know it. One of them, at the District meet referenced my main character, saying she was “going to pull a Callie.” More high praise. . . and I cringe

Because my craft isn’t good enough, not yet and these girls deserve better than I can give them now.

So where do you go to learn how to create a memory? Not plot. Not setting, not any of the parts of the story. How do you learn to create something that will give them a memory that they can use now and twenty years from now?

How do you touch them and show them their own beauty?

 

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Running Quote of the Week

I'll see how many of these I can track down. Here is the redoubtable Dr. George Sheehan. I highly recommend his books, especially Dr. Sheehan on Running. It's not a book on how to run faster or longer or even better. It's a book on why we run, what moves and touches us to be runners.

"It's very hard in the beginning to understand that the whole idea is not to beat the other runners. Eventually you learn that the competition is against the little voice inside you that wants you to quit." - George Sheehan

If you are a sales person, I would suggest listening to Blair Singer (or reading the book but I like the CD I have) and his Little Voice Mastery Systems Audio CD.

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Graphic isn't Real

A post on the KillZone Blog  sparked a bit o thinking this morning about the difference between graphic and real and the realization that graphic isn't real. Well, a post and a pot of coffee and a lousy show on Netflix last night. We watched about twenty minutes of the show (it will remain nameless but feel free to speculate on your own) before turning it off. The reason? It was insufficient for the writers or producers to get us to use our imagination on the grisly murders. They felt it necessary to take the screen, shove it against our noses, and rub it in the gore. span This offends me. Mostly I attribute it to getting a bit cantankerous as I get older but if I wanted that visceral (and perhaps vicarious?) thrill, I could go to an abattoir. What I wanted was entertainment, what they gave me was a massacre without a reason to care.

The story line wasn't bad (though not original) and the acting was acceptable. The problem was that the writers or the producers had so little faith in the story that they resorted to graphic images to compensate. The other implication, the audience is dull and incapable of appreciating a properly developed story, is just depressing.

It's not the first show that I've tuned out because of this problem and I don't bother going to the movies any more. The dramas are slow and dull, the comedies force the laughs, and action movies no longer require much more that a constant bombardment of explosions. Most of the acting is pretty poor, too. As I said, I'm working on getting cantankerous.

I see it happen in novels, too, as writers confuse being graphic with being real and plot with story. In a bit of heresy, I am reevaluating the age old advice "show, don't tell" because I am beginning to suspect that this particular pendulum has swung too far.

The constant "show, show, show" places the perceptions of the author into the story and, I think (still pondering this) blocks the natural imagination of the reader. Well-built storytelling should blend the showing into, in measured doses, the fabric of the work. I enjoy writers who trust me as a reader to understand the world they built and the people in it and to add my imagination to help bring it to life. Without that trust between the writer and the reader, there are simply words on a page, uninspired and limp.

Writers like Robert Heinlein or Elmore Leonard did a lot of telling, far more so than showing, but were masters of their craft and excellent at the art of storytelling. I'm not sure that either developed plot outlines or large character sketches. They told stories.

What they excelled at was keeping the reader asking, "And then what happened?"

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Are you living an expansive life?

I'm reading a book, Fiction Attack, by James Scott Bell, author and writing coach extraordinaire, and he asks that very question: Are you living an expansive life? Are you taking risks and learning or playing it safe? For most people, the answer is to play it safe. And there are good evolutionary reasons to do exactly that. After all, early adopters in the paleolithic era tended to get eaten by saber-toothed tigers if the newest idea didn't work out as planned. All species are driven by a strong survival instinct (with the possible exception of the panda) and taking chances was, well, chancy.

But advancement can't be accomplished by sitting in the crook of the tree, watching the world go by. Or in front of the TV. To learn new things, to grow, a person needs to leave the comfort zone and explore. Explorations don't need to be on foot or to some strange land. The most arduous journeys start inside you, asking a simple question: "What if. . . ?"

What if I asked that girl out?

What if I learned Italian?

What if I climbed that mountain?

Not everybody wants to, or even needs to, live an expansive life but if you want to reach your maximum potential as a contributing human being, playing it safe isn't an option. All history is built by people pushing boundaries. Those who dared to try something new, like powered flight, are revered as 'unique' and 'special'. They are neither - they are simply people who were willing to climb out of the tree.

Do many of these folks perish? Absolutely, sometimes in spectacular fashion.  Watch Birdmen: The Original Dream of Flight if you want an appreciation of how intensely limits can be pushed.

Not every act needs to be death-defying, of course. Some of those 'what if's' exist purely in the realm of the mind, creating new ways to look at things. The American Revolution was a new way to organize a country. Relativity by Einstein was a new way to view the universe. Ideas are perhaps the most profound life-changers.

History is also strewn with those who played it safe but backed the wrong leader, the wrong idea. In the end, there's no such thing as playing it safe. Hoping that the group simply spreads your risk - and your exposure to risk - over a larger entity.

So, back to the question: are you living an expansive life? Do you ever think. . . what if. . . .?

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Thinking in the Middle of the Night

I spend valuable sleep time thinking in the middle of the night when I really ought to be catching some rest. Sure, there are other things you can do in bed - I read a lot - but sleep is high on the list of things I like to do. I'm just not very good at it. It's not due to a lack of practice. I try. I've turned into a champion power napper. Set the internal clock for 13 minutes and I'll nod off for 12 minutes and 45 seconds. Those naps aren't true sleep, though, and the brain roams at will. Some very good ideas came from those naps. Also some really bad ones but that might be from eating odd foods at lunch.

Nighttime should be restful and serene, at least according to all the mattress commercials. If the nights aren't peaceful, the pill-pushers at AstraZeneca have an answer. I've never tried a sleeping pill - given the strange way my system managed Vicoden when the doc prescribed it  (it amps me right through the roof) and the list of side effects that all these meds come with, I'll just skip the pills.

Booze doesn't work either. That's not news for most people since the health nannies have been yammering about the evils of alcohol consumption for years, including a warning that the stuff alters sleep patterns. Plus, I tried using booze - a fifth of rum, specifically - to shut down my brain when I was sixteen. Didn't work, just made me paralytic and cognizant of the fact. The next-day ramifications were also rudely unpleasant. I gave it up (partially, as I still enjoy an evening tipple) as a lost cause.

Going to sleep is not the problem. I did that well last night, slept through the puppy yipping at midnight when Donna gave her the pain meds (we have a post-surgery puppy at home to help its recovery) or the big dog whining to go out at 4AM. Yet, I know I spent hours thinking in the middle of the night. A plot line and dialogue popped in to say hello and show me where Trail of Second Chances is headed today.

The back of my head even organized my day - write early, work, presentation with the terrific folks at Windermere, more work, reinspect, pick up a radon detector, and, if I don't wimp out, run.

I also had an idea worth writing about. That's how Rose came into being. A dream that woke me up and moved me to put it on paper.

Last night, it was a blog post, something profound. The brain framed the discussion, even started doing a first write on it. I remember being excited and thinking "ooh, this can be gooood!"

You see the problem already, don't you? While my body was crashed out, the brain worked. Which is great except the act of waking up the body made me forget everything!

Which is why, rather than a profound post that could change the way you see the world, I have this post to offer.

It isn't the thinking in the middle of the night that bothers me; it's the forgetting of the thoughts that annoys the heck out of me.

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What to do with a brain of mush?

Oh boy, you know those mornings where you wake up and you can feel your brain just sitting there going "Whaaaaat, {yawn} already? ....." Hello, November 1st. The body is up, the brain will catch up later . . . hopefully. No grand overarching discussions this morning, nor will I be engaging in deep and serious contemplation as that would lead to serious nap time and I have things to get done first. Top of the list, prattle here and hope that by the time I'm done, I regain my wits - or at least half of them.

While I wait, I have some homework to get done for my class with Dean Wesley Smith - I'm taking his 'Pitches and Blurbs' class online. If you are an aspiring writer, I strongly recommend his online seminars. Lots of range to the classes and no BS. Pretty much what you need to know and understand if you intend to self-publish. Utterly essential if you plan on going with a traditional publisher. Anyway, this week's class requires putting together a Smashwords Blurb - two, actually - and we're not allowed to use material we've used before. Makes it tough but here's one I came up with based on a slightly weird idea:

Snow White . . .  a dude? When Beau Wright falls in with a commune full of women, he believes in miracles. When he discovers that none of them like men, he believes in hell. And when someone tries to knock him off and hurts the ladies instead, he vows revenge. But nothing moves in straight lines around Beau as the action bounces from hysterical to intense. Fast, funny and definitely irreverent.

The idea could be really fun to work with though I expect it to get more than slightly ribald.

Not sure that I have an unused idea suitable for class in my notebook so it's time to go visit political websites and trawl the comments for good conspiracies.

 

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A Walk with Rose is now for sale

A Walk with Rose is now on sale at Amazon as an ebook. I'll be working to get all the other electronic formats set up over the next week or so. What's the story about . . . ?

A heartwarming story in the tradition of Hallmark Movies, A Walk with Rose tells the story of a young girl’s bravery, an old man’s loss – and the love of a dog.

Emily adopts Rose, a lost dog, from the local Humane Society. Emily, victim of a terrible accident, discovers that Rose possesses rare wisdom. The two of them start a journey to heal Emily-and grant peace to Roy, the dog’s real owner.

Keep the box of tissues close as you meet Emily, Rose and Roy.

The print version should be ready to go by the middle of next week and I have the bids in for a print run from a traditional printer.

Just a reminder that 25 percent of the profits of the short story goes to the local Humane Society - they do awfully good work there, hard work, and can use any help we have to offer.

 

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