Archive for the writing process

Huckleberry Finn — Archetypical Boys — and a Scene from My Upcoming Novel, SHAKEN (ages 9-13)

I’ve been on a good reading streak lately. You know the feeling. These times when you keep picking up good books and your mind feels engaged, buzzing with ideas and perceptions. I read Percival Everett’s new novel, James, which is Everett’s version of The Adventures of Huckleberry Finn, told from Jim’s point of view. A brilliant book. It led me to reread Huckleberry — it had been decades — which was also profoundly interesting, a book  wholly deserving of its place in the canon of American Literature. Not perfect, nope, but foundational in so many ways. 

Jim and Huck on a raft on the river.

It’s all right there.

Sidenote: 2007 saw the publication of Jon Clinch’s debut novel, Finn, which focuses on Huckleberry’s father. I remember loving this dark, gritty tale when it first came out — we meet Huck in this one, too — and now I feel that I need to revisit it again.

Anyway, that’s three supremely talented writers, like gold diggers seeking riches, working the same deep vein: that great fictional character, Huckleberry Finn. The distilled spirit of the American boy. Or, at least, one version of that boy.

In a similar way, I think of Ramona Quimby as a classic type of American girl. A powerful archetype, for Ramona is the most imitated character in all of children’s literature.

 

 

 

 

Inspired thus, and perusing the internet, as one does, I came across this illustration of Tom Sawyer by Norman Rockwell:

 

The image jarred something loose in me, because I have a similar scene in my middle-grade novel, Shaken (Macmillan, September 2024). There’s a boy sneaking out of a bedroom window late at night. Sure, I could look no farther than my own childhood to come up with that idea. But there was something else at play. Something deeper and more resonant. 

I should note here that the neighborhood boy in Shaken was inspired, directly, by my childhood friend, Jimmy Kuhlman, AKA, Jimbo Ku. But I now realize that the “Jimbo” in my story was also inspired by Twain’s depiction of Tom and Huck. All those characters (living and fictional)  flicker around the essence of the archetypical American boy, the mischievous & resourceful rapscallion. In my book, I wanted that character to represent a sense of freedom, which was something missing from Kristy’s mindset: a wildness, an openness . . . a touch of Huckleberryness.

Looking back, I understand that I treasured those qualities in my old (and still current) friend. He had an undeniable energy and rebellious intelligence. A rule-breaker. I wanted this character to enter Kristy’s world and leave her enriched and transformed. He’s just that kid in everybody’s neighborhood who is a little bit different. More alive, more free, more daring.

I sensed that those qualities were absent from Kristy’s highly-scheduled, goal-oriented routine. Today I look around and suspect that those qualities are missing from the life of so many young people. There’s just not enough time to muck around. Which is too bad, because so many good and valuable lessons are learned from just mucking about.

Here’s an excerpt from the moment when Kristy first notices — really notices — her next door neighbor. It is late at night and she is sitting on her front porch while the world sleeps. Or so she thinks:

This was where Kristy sat huddled under a fleece blanket late one evening long after her parents had gone to bed. Sleeping was still a problem—it never got back on schedule—especially since she no longer exerted herself physically with sports. Kristy used to fall into bed dead-tired; now she had become nocturnal, like a bat or a bandicoot. On this night, Kristy wasn’t doing anything in particular. Just being. Enjoying the silence, the body’s quiet, late autumn’s brisk, crisp, sharp aroma of decay.

This was something new, the post-concussed version of herself, Kristy 2.0. Up all hours of the night, not busy, not active, not even restless really. The fall fragrances soothed and comforted her in a way they never had before—the smell of rotted plants and leaves and acorns: dark, rich, woody. Kristy sat content as an owl perched on a limb: watchful, alert, still.

A soft noise came from the neighbors’ house to her immediate right. The Sullivans. A second-story window shivered up almost soundlessly, but not quite. Dark curtains billowed. And a black-booted foot stepped out onto the front roof. A bent figure hunched through the opening and, once outside, carefully lowered the window shut. It was the skinny boy next door, the youngest of them all, sneaking out of his house. Interesting. Kristy felt like a spy, as if she were witnessing a minor felony, something that she wasn’t meant to see. The night whispering a secret into her ear, the moon lending its stolen light.

What was he up to?

His name, she knew, was Jimmy. They had never talked, not much anyway, though his family had moved in nearly two years ago. Though roughly the same age, their paths rarely crossed. He wore a private school uniform and rode the bus to get there. There were four or five Sullivan children—it was hard to get an accurate census—one of those sprawling families with an ever-changing assortment of cars cluttering the driveway. Teenagers coming and going. Young adults. Sometimes they even parked on the front lawn. The family had moved up from the city, Kristy believed. Two and a half hours on the train and a galaxy away.

The boy moved to the edge of the roof, rubbed his hands against his jeans. Then he leaned dangerously out over the black nothingness and, with one hand, grabbed hold of a drooping tree limb. He swung so freely, so effortlessly—like a gibbon brachiating through the forest. Kristy took a sudden intake of air when he dipped to a lower branch, wrapped his legs around the trunk for momentary purchase, then dropped to the earth as if he’d done it a hundred times before.

A lone car traveled down the empty road, casting long shadows with its headlights. The boy stepped close to the house into the shadows. The beams swept across the grounds like searchlights in a prison movie. The danger passed.

Even if the boy glanced in the direction of Kristy’s porch, he almost certainly would not have seen her, wrapped in the deep-blue fleece blanket pulled up to her neck. He furtively moved to the sidewalk and into the street, long strides and calm confidence. He carried something in his right hand. What was it? In answer to her question, the boy lowered a skateboard to the street and stepped onto it. He pushed off—one, two— smooth as silk over glass. With a practiced gesture, he pulled a hoodie over his head and disappeared into the night.

Where was he going, now in the witching hour, while all the world slept? To meet his friends? To party in the woods? To see his girlfriend? Or maybe he was like Kristy, awake because he was lured outside by the autumn air, a nocturnal creature of the dark. A fellow bandicoot. Maybe he couldn’t sleep. Maybe home was too hard. It was a puzzle that Kristy couldn’t solve. Not yet, anyway.

She longed to follow him into the dark.

For 7th-grader Kristy Barrett, soccer is life. It has always been at the center of Kristy’s world. Her friendships and self-worth, her dreams and daily activities, all revolve around the sport. Until she suffers from a serious concussion and has to set soccer aside for an uncertain amount of time. Kristy begins to struggle in school, experience stress, anxiety, and panic attacks which ultimately bring her to some questionable decisions . . . and the care of a therapist as she suffers from post-concussion syndrome. It’s a story about identity, therapy, new friendships, making mistakes and, finally, coming true to one’s ever-evolving self.

 

SHAKEN will be published on September 10th, 2024. It is available for pre-order. Thanks for reading.

 

DEEP SURVIVAL: Researching “Blood Mountain”

When I speak at schools to an audience of grades 4-up, I’ll sometimes talk about my wilderness survival novel, Blood Mountain

There’s a scary moment in the process that many writers face. After the initial idea for the book — two kids and a dog lost in the mountains! — that happy burst of boing! eureka! — I realized that I didn’t know nearly enough to write it.

It was time to hit the books and talk to experts. Which I did. 

The other day, a few years after the fact, I reread for pleasure one of the books that informed my thinking: Deep Survival: Who Lives, Who Dies, and Why, by Laurence Gonzales. It’s an amazing book, profound in many respects, and a great read. It’s very much the kind of thing I love. 

When you think about it, just about every story comes down to what a character is made of, the content of that character’s character, and survival stories are so powerful because they bring this question to the forefront. Does this character have the right stuff?

And what is the right stuff?

Rereading Gonzales’ book, I kept coming across ideas that I first encountered there, busily jotting concepts in my notebook, underlining passages, discovering ideas that I would try to incorporate into Blood Mountain. I came to his book wanting to know more about why people got lost, what mistakes they commonly made. And moreso, what attitudes best served “the lost,” and which attitudes might get a lost person into serious trouble. 

Here’s something from page 154: “Psychologists who study the behavior of people who get lost report that very few ever backtrack.”

There’s a deep urge, particularly in goal-oriented people, to keep moving forward. Our eyes look forward, after all. So I made sure to write Grace (13) and Carter (11) that way, a dogged determination to keep going (even when the expert advice is to stay calm, stay put, stay warm, stay dry).

Another bit of wisdom that true survivors arrive at fairly quickly is the ability to make peace with their environment, a clear-eyed acceptance of the new reality. This becomes Grace’s path. While both characters ultimately need to be rescued, only Carter really needs to be saved. 

Earlier, Grace and Carter, on Day 2, form a plan to climb to a summit for a better view. That’s how they will see the clear path home, as if looking down on a giant map. The mentality, described by Gonzales, is fairly sound but not without risk (p. 160): “Maybe if he just got up high . . . if he could just see the whole area, then everything would snap back into focus and he could calm down.

Unfortunately, when people are without food and water, depleted already and possibly not thinking clearly, the expenditure of that effort can exhaust or injure them, possibly leading to outright panic. 

So, yes, in Blood Mountain we see exactly that, leading to Grace’s fall (from grace). Psychologically, it has to do with a person’s intense desire to map the self, map the environment — to create a mental picture. So that the interior mind and the exterior environment sync up.

Losing that inner map is the essence of being lost. 

Also from Gonzales: “Part of the terror of being lost stems from the idea of never being seen again.

I loved that one, because that’s all any of us want in this world, isn’t it? To be seen. To be valued. Without being seen, do we just fade out of existence, vanish into nothingness? 

Again, Gonzales: “Being lost, then, is not a location; it is a transformation. It is a failure of the mind.”

To survive, you must find yourself. Then it won’t matter where you are.

The rule is simple: Be here now

In Blood Mountain, I separate Grace and Carter and give them different experiences and, more importantly, different ways of responding to those circumstances. 

Grace, though injured and alone (with her dog, Sitka, thankfully), comes to a state of acceptance. Even appreciation of the beauty around her. She begins to set small goals for herself, simple tasks: get water, make a more comfortable bed, ration the supplies, etc. 

A holocaust survivor (p. 169) described the process this way: “Rescue will come as a welcome interruption of . . . the survival voyage.”

I share all this — just a fraction of the insights (borrowed, stolen) that went into writing Blood Mountain. (I’m not an expert, but I played in the writing of this book!)

There’s an intellectual reason for everything that happens on every page. Each scene, each moment, is intentional. Again, it is Grace’s sense of wonder about the natural world around her. The trees and plants and animal life. From Gonzales (p. 240): “It is a decision not to be lost wherever you happen to find yourself. It’s simply saying, “I’m not lost, I’m right here.

All this is to say: THANK YOU, LAURENCE GONZALES. I couldn’t have written my book without you!

BLOOD MOUNTAIN is now available in paperback for only $8.99.

Learning to Be Gentle with Myself

Here’s a meme that resonated with me, and it might do you some good, too (more thoughts below):

I published my first official book in 1986, though I made many books with spare paper and tape as a young kid, probably starting around 1966.  So it’s been a long time of me making things.

And a very long and hard time of me beating myself up over all those times when I’m not-making-things. 

Of me being uninspired, or lazy, or too slow and dim-witted, unoriginal, shiftless, and on and on. All the hateful words.

How does one write without a generous heaping of self-loathing?

I’ll never know. 

But I am not so far gone that I can’t see my own ridiculousness. I can look on my book shelves and see that I did some work along the way, and it’s not all terrible and useless. 

Lately I’ve been in a fallow period. 

Lacking in some essential thing.

An empty vessel in need of filling up. 

And thus, the meme. 

Remembering that I’m a human, not a machine, not a bot, not an AI program. 

I’m learning — I’m trying to say — to give myself a break. Because I’m doing the best I can. That has to be enough. 

 

 

FAN MAIL WEDNESDAY #334: A Desi Girl Writes . . . .

 

Let’s check the mail!

It’s funny, thinking of this now, I remember the later years of my mother when she lived in her last house in Greenport, Long Island. Checking the mail — putting on a light sweater, struggling into a pair of shoes, walking down the driveway to the road and the mail box — that was an adventure right there. Then she’d sit, have a cup of tea, light a cigarette, and think about having a little coffee cake later on. 

Anyway!

Ananya writes . . . 

 

Hi Mr.Preller,

I hope you are well. My name is Ananya ____. You recently visited my school (Jericho Middle School), on March 27th. You mentioned that if I had any questions in the future I could ask you. My questions for you are; What is your favorite genre? What is the best writing tip you ever received?
Thank you,
Ananya

I replied . . .

Ananya!
Hey, I remember you very well. Please send my regards to the Desi Girls!
I was so impressed with your school — the teachers, staff, principal, and students. Everything. I’ve walked into a lot of school buildings in a lot of different states, and I can tell that you’ve got something special going on there in Jericho. Make the most of it.
My favorite genre? I probably go back to realistic fiction most frequently. That’s the baseline, I believe, for all writing. I tend to like (boring) scenes where people sit around the kitchen table and talk. Plot is the tricky part for me, and I have to work to make things happen (which most readers seem to want). That said, I might be different than other authors because I like to bounce around, writing mysteries and “horror” and thrillers and even fantasy. Someday I hope to write a true work of science fiction. I mean to say, I’d like to publish one. I’ve written one, but had no luck selling it. Rats!
As a reader, I’m the same way. I bounce around. After reading a couple of novels, I’ll hunger for nonfiction. Maybe a biography or a book about birds or essays about politics. Then I’ll read about music, or baseball, or whatever random thing catches my eye. Then it’s back to novels. Round and round it goes.
Best advice? Oh, goodness. I really ought to write up a list one of these days. I sort of love Elmore Leonard’s semi-snarky advice, “Try to leave out the part that readers tend to skip.”
And I love Kurt Vonnegut’s line, which I often share on school visits: “No matter how sweet and innocent your leading characters, make awful things happen to them — in order that the reader may see what they are made of.”
Otherwise, the cliched answers are usually still true. Read often, read widely, read like a writer (meaning: be hyper aware of the writer behind the words). Try to write as often as you can. Keep a journal. Pay attention to the world. Eyes open, mouth closed. Be filled with wonder. And read aloud what you’ve written.
I try not to overwrite, because that’s probably my biggest private demon. We’re mortal enemies! That’ s the ego, when I might try to get fancy and show off how smart I am (not very, honestly). So I try to keep my sentences simple, my thoughts clear. We almost never want a confused reader. Clarity is king.
Thanks for saying hello!
James Preller

On Watching “The Taking of Pelham One Two Three,” and David Shire, and a Sneeze, and Chekhov’s Gun

Netflix recently added a bunch of movies from the 70s and “The Taking of Pelham One Two Three” caught my eye (the original 1974 film, not the remake). I remembered seeing it in the theater in my early teens. Walter Matthau and the gritty old NYC vibe. Not quite the caliber of “The French Connection” or “Serpico,” but drawing from those same mean streets. And what a cast, in addition to Matthau, there’s Robert Shaw, Martin Balsam, Hector Elizondo, Jerry Stiller, and more, including Lee Wallace spoofing NYC Mayor Koch. 

    

Anyway, I watched it again. I don’t know that it stood up all that well, but I enjoyed it, partly for nostalgic reasons. It brought me back.

That said: The opening theme, written by legendary composer David Shire, is out of this world good. Brassy and propulsive and energetic, a jazz-funk theme that announces a city that is alive and muscular, gritty and tough.

Give it a listen . . . it’s fabulous. 

 

One thing of note. There’s a moment early in the film when one of the bad guys sneezes and Matthau’s character — Garber — says “Gesundheit.” It was enough of a moment, including that extra beat, that made me think, Hmmmm, why are they doing this here?

I knew something was up with that sneeze.

The film goes on and, wow, again, the bad guy (Green) sneezes. And again, Gesundheit. So not only do we notice it, we notice Garber noticing it. And if I didn’t realize after the first sneeze, by this time I knew for damn certain that the movie would include one more sneeze. A pivotal sneeze. And that it would be how Green gets caught.

(Sidenote: I assume this is where Tarantino lifted the idea for all the criminals in “Reservoir Dogs” using colors for code names: Mr. Brown, Mr. Pink, Mr. Orange, etc.)

Anyway, this is why my long-suffering wife Lisa hates watching movies with me. To the point where I’ve had to promise to keep my big mouth shut. Or else I’ll ruin things by musing out loud on the (obvious!) ending in the first few minutes of a movie. I’m sure other writers, especially mystery writers (there are 42 Jigsaw Jones books, after all, so I’ve learned a thing or two about laying out clues), do this all the time. We notice things. The odd clue that’s put forward unexpectedly, with just a touch too much emphasis. Why have that minor character sneeze like that? It must mean something. Or we know that it will mean something later on.

This is, of course, Chekhov’s Gun. The idea that if a writer introduces a gun in the first act, it must go off by the third act. Otherwise, don’t include the gun at all. Or the sneeze. Every element is essential to the story or irrelevant.

Anyway, the film dutifully gives us that sneeze at the end of the film, as I knew it must.

                           

       

               

                       

 

And the scene was perfect, and waiting for it held its own deep satisfaction. And then we got the film’s final shot, Matthau’s mug, hearing it, and knowing: he’s got his man.

End scene, end movie.

Just perfect.