We are the generation of the selfie and of self-induced sadness,
born in the same year that three of my idols would commit suicide.
Most poets die with the lights on,
but we all plan on drowning. We are the generation of grounding
lightning into coffee beans, of pulling strings from the hems of our dresses until we unravel,
of leaving footprints in the gravel on the way to the edge of the world. I am a computer girl,
and I was born in the year of the boar. Maybe that’s why I’m a whore,
and my best friends are all pigs,
and I dig my own grave every time I open my mouth.
We are the generation of meaningless trophies, it’s true.
My parents like to tell me: “you
think that you deserve everything.” But we are a generation of scraping,
watching our parents cry over housing prices
and dying white clothes black to blend in.
We are children of the wind, born to land wherever freedom settles us
and we take our parent’s debt with us everywhere.
We are a generation of change and of chains, and mostly
I think we deserve any fame we can get:
thirty people hitting “like” on a status.
Girls posting photos of themselves naked have earned every moment of bliss
they receive from finding themselves beautiful in their own skin.
We are a generation of women airbrushed to perfection
and daughters taking pills to feel pretty again.
And mostly, I don’t like to make sweeping generalizations about my friends
but I think it’s okay
if at the end of some days we feel like relaxing,
taking a photo of our dinner,
telling two hundred near-strangers how lucky we feel
to be existing anywhere at all.
When I was about 20 years old, I met an old pastor’s wife who told me that when she was young and had her first child, she didn’t believe in striking children, although spanking kids with a switch pulled from a tree was standard punishment at the time. But one day, when her son was four or five, he did something that she felt warranted a spanking–the first in his life. She told him that he would have to go outside himself and find a switch for her to hit him with.
The boy was gone a long time. And when he came back in, he was crying. He said to her, “Mama, I couldn’t find a switch, but here’s a rock that you can throw at me.”
All of a sudden the mother understood how the situation felt from the child’s point of view: that if my mother wants to hurt me, then it makes no difference what she does it with; she might as well do it with a stone.
And the mother took the boy into her lap and they both cried. Then she laid the rock on a shelf in the kitchen to remind herself forever: never violence. And that is something I think everyone should keep in mind. Because if violence begins in the nursery one can raise children into violence.
moffat’s companions’ lives are all so strangely ungrounded in reality and i think it’s a good example of his very weak writing. in day of the doctor we see clara teaching - no explanation, no mention of it in the episode, and no build up to it. although obviously this…
Writing Advice: by Chuck Palahniuk
In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.
“Brenda knew she’d never make the deadline. was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail.
Present each piece of evidence. For example: “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take…”
A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”
A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
“Ann’s eyes are blue.”
“Ann has blue eyes.”
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.
For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.
Then, pick through some published fiction and do the same thing. Be ruthless.
“Marty imagined fish, jumping in the moonlight…”
“Nancy recalled the way the wine tasted…”
“Larry knew he was a dead man…”
Find them. After that, find a way to re-write them. Make them stronger.