What prods a writer to the keyboard day after day?

A statement read long ago, that many novelists set out in their newest writing to discover the book under the one they previously finished, has long resonated with me.

I addressed it head-on in What’s Left, which picked up at the end of my first published novel and the Hippie Trails stories that followed. The nagging questions also prompted the three Jaya novels that followed Promised, which are now all compressed into Nearly Canaan.

In both cases, this effort to finally resolve the question of “what’s it about” – really about – led to my reworking the previous novels rather than writing more. In fact, it would up reducing my list.

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I write to explore and discover. There’s a reason I’ve come to be defined as a Mixmaster.

If you’re a writer, let me ask. How about you? What motivates you to sit down at the keyboard? What’s your approach? How do you define yourself and your work?

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Has me recalling another question. Would you rather produce one big book that delivers it all – a masterpiece? Or a bookshelf of more modest but widely read works?

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Or if you’re a reader, why do you turn to the books you choose?

My national parks bucket list

When I lived in Yakima, Washington – like Joshua and Jaya in my new novel, Nearly Canaan – Mount Rainier was practically in our backyard, metaphorically, at least, and I got to explore it repeatedly, in all seasons. In addition, I camped in the Olympics and North Cascades national parks and visited Crater Lake in Oregon. I had already camped as a kid in the Great Smokies and at Mammoth Cave and have since probed the Everglades. I can attest that Acadia and the Cape Cod parks in Provincetown are prime New England. And Cuyahoga in Ohio was just to the west of a town where I lived and worked for four years after leaving the Pacific Northwest. Gateway Arch in St. Louis is another? Gee, this list of parks I’ve visited keeps growing.

Still, there’s a lot of stunning choices in the system I have yet to explore.

How many items are required for a bucket list, anyway? Ten or 20? Well, this is in my Tendrils category, so that settles it. These are all United States parks, by the way – an international list will have to wait.

Here goes.

  1. Grand Canyon, Arizona.
  2. Yes, in Montana.
  3. Yellowstone in its corner of Wyoming, Montana, and Utah.
  4. Grand Teton, Wyoming.
  5. Zion in Utah.
  6. With seven of the ten biggest parks, I’ll lump them all together in what could become yet another Bucket List. I’d definitely want to get to the Last Frontier by ferry from Seattle. Am I too old for a sleeping bag on the deck?
  7. Hawai’i Volcanos.
  8. Mesa Verde in Colorado. The Anasazi cliff dwellings, especially.
  9. Kings Canyon. Sequoia, Redwood, and Joshua Tree, all in California. I’d love to spend more time in the sequoia groves than I did passing through back in ’79.
  10. Calsbad Caverns, New Mexico.

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What’s on yours?

Reading a dear friend’s memoir

A while back, she asked if I’d read the draft of her memoir. I felt honored. Besides, this is someone who had given a close critique of one of my novels-in-progress decades ago, and I had done the same for a collection of her essays that came a hairline away from book publication.

She had pointed me to a few published volumes I still find myself quoting frequently.

That was back before we could easily exchange things like manuscripts in emails. Had to make printouts and haul off to the post office or drive five hours, things like that.

This time, the copy came as a PDF. I put it aside until I could give it full attention. It was worth it.

As a fact of life, we had largely lost touch. We had never been neighbors. The closest they had lived to me was still an hour away, and then for 19 years they lived five hours off in rural Maine. When her career picked up and I became more enmeshed in my new family and other responsibilities, we had less time to visit, even before she and her husband relocated across the continent a few years ago. We wound up keeping in touch mostly through their daughter, who’s also my goddaughter.

So the memoir was a welcome opportunity to reconnect.

Let me say it’s a remarkable document, wonderfully written, and candid to the point of painfulness. This version is not for public circulation. Parts of it should be, but others are there as evidence of personal work ahead. Well, she has filled the role of a spiritual elder for me through some difficult stretches, and I’ll always be grateful.

I knew bits of the history, but the details deepened my understanding, reconstructed the chronology, and corrected some impressions I had wrong.

I certainly know her – and her husband – much better now.

Over the years, I’ve found that with some friends, when we get together after long stretches apart, we don’t need much time before we’re feeling no gap in our rapport.

This is certainly one of them.

I’m elated to have my novels now more orderly and interconnected

I’m still surprised by how much literary writing I accomplished in my spare time during all those years I was employed elsewhere. Much of it, admittedly, was in a shotgun fashion, or as I’ve also said, along the lines of graffiti, while hoping for the big break that would give me the space for a more concentrated approach.

Still, it led to a rich stream of material. In that regard, Jack Kerouac was a huge inspiration.

Releasing Hippie Drum as an ebook at Smashwords.com in 2013 was an indispensable defining moment for me. I was no longer bashing my hopes against a brick wall of commercial publishing, which was ever more resistant to experimental fiction. Six more novels followed at Smashwords, plus the fiction available at my own Thistle Finch online imprint.

As I’ve already noted on this blog, my novel What’s Left led me to rethink and rework almost all of those earlier novels. For one thing, as I now see, it was drafted and revised entirely after my retirement from the newsroom.

I’m deeply grateful to an insight from Smashwords founder Mark Coker that one of the advantages of ebook publishing over printed paper is that revised editions are much easier to accomplish, and more economical, too. That – and my own ability now to create my own covers, rather than hire a designer – encouraged me to drastically recast those earlier volumes.

There’ no way to express the elation I feel in now having most of those novels stand in two distinct, orderly cycles – Freakin’ Free Spirits and Living Dharma – each with a continuity of events and central cast of characters.

There’s the relief, too, of having finally been faithful to this material and its inspiration. I can now move on. It belongs to the world, the way a parent feels about grown-up children.

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