The Way We Get Ideas onto the Written Page

I don’t know if the medium is the message as Marshall McLuhan so famously declared, but it certainly changes the way the message is composed. I learned cursive in fifth and sixth grade. My handwriting was and is almost unintelligible by anyone but myself. My teachers complained.

During the summer between elementary school and junior high I took typing lessons. At first I wrote longhand and then transcribed onto an old Remington manual typewriter. Later, I switched to a manual Smith Corona, and in college to an electric Smith Corona. In those days I always wrote longhand and revised with interlinear notes and circled passages with arrows showing where to move a sentence or paragraph. But I found I could never compose straight onto the typed page. The loud clack of the typewriter interuptured my thoughts.

It was a tedious process and anytime I made a major revision, removed or added a paragraph, I had to retype the entire manuscript from that point forward. When I finally transcribed onto the typewriter I would use a carbon copy so I’d have two copies. If I made a mistake I used white out and typed over it, and as the technology improved a new type of paper and a typewriter ribbon, half black, half white, we’re developed that allowed you to lift off a letter from the page when you did a strike-over, which did nothing to correct the carbon copy.

I wrote a novel, short stories, wine articles and teleplays in this way. It was a time-consuming process. In the late 70s and early 80s I was writing wine reviews and feature articles for Vintage magazine, and Wine & Spirits Buying Guide, and any typed pages I turned in were then sent to the printer and had to be transcribed into the printer layout.

Then along came the personal computer. In 1982 I bought a suitcase-sized Osborn computer with a 5 inch black-and-white screen, and 5 ¼ inch floppy disks that could hold 64 KB, enough for several articles. All of a sudden I could write three times faster. Corrections could be made instantly without having to retype pages, and I could make as many copies as I wanted. Furthermore, these computers were almost silent. No longer was noise a distraction and I could compose straight to the screen. The word processors even checked my spelling and grammar, and a dictionary and thesaurus were only a click away. Later, with the advent of the Internet I could fact check on the fly.

I’ve owned more then a dozen computers. For the past decade I’ve used various MacBook Pro laptops. Yet for all their advantages computers have always had a major drawback for me. I’ve been lucky enough to live by the ocean for most of my life. In the late 70s I enjoyed writing on my deck while listening to the waves roll in. But laptop screens aren’t bright enough to see outdoors.

I thought this problem would be rectified with the advent of the Kindle Ereader and Eink a decade ago. However no manufacturer has stepped forward to offer a simple word processor with Eink technology. So I remain confined to working indoors, when I’d rather be on the deck or at the beach.

Today’s computers offer beautiful graphics. I appreciate it every time I click on a YouTube video, or sort through photographs, or read an article supported by sharp, colorful graphics. However, all this gadgetry comes at a price. I’m a champion procrastinator, and my little writing machine is now an entertainment center. It comes with access to the news, Facebook, YouTube, Instagram, Pinterest, movie reviews, book reviews, webcams, music, games, reminders of appointments, and bills to pay. I can’t tell you how often I’m distracted by the stuff behind the curtain. In a lull between paragraphs I’m likely to say to myself, “Now I’ll just check to see if so-and-so has responded to my email.” An hour later I might get to work, or decide it’s time to take a snack break. The Internet is a bottomless well. It’s easy to spend your day mindlessly web surfing.

I’ve been stuck at about the two thirds mark in writing my new book, Seal Cove. Part of it is caused by the distractions available on the same machine I use to write. Part of it, I suspect, is the posture required to type on the keyboard on my lap. I imagine one composes differently if standing, like Hemingway did, or sitting rigidly at a desk, or lounging in an easy chair, or in bed. It’s said that Dickens composed in his head while walking late at night.

So until someone invents an Eink word processor, I’m going to try an experiment. I’m going to compose longhand and dictate into my laptop (Steinbeck dictated the first chapter of Cannery). But direct dictation is another skill and might take some getting used to.

My hope is that composing without online distractions will move this book along. In the meantime, dear reader, my apologies for the delay.

Evelyn Marsh audiobook

Evelyn Marsh audiobook

My novel EVELYN MARSH has just been released in audio format, narrated by Susanna Burney and engineered by Eric Eagle in Seattle, Washington. Susanna does a great job of capturing Evelyn’s voice and bringing the story to life.

Why an audiobook? As the saying goes, “So many books, so little time.”

I’ve been a big audiobook fan for more than a decade. I find that I only have time to read a dozen or so physical books (paper or ebook) a year. With audiobooks all the hours I spend driving, shopping, cleaning, cooking, gardening, or exercising can now be spent listening to 50 or 60 audiobooks a year. I’ve managed to get through a long list of classics and have discovered numerous contemporary authors along the way, authors whose books I simply wouldn’t have the time to get to if it weren’t for audiobooks.

Seal Cove, a work in progress

Seal Cove, a work in progress

SEAL COVE

I’m currently working on an ensemble piece set in the small coastal town of Seal Cove in Northern California. Seal Cove is a fictionalized version of Moss Beach, where I’ve lived most of my life, combined with neighboring Princeton by the Sea at Pillar Point Harbor, and perhaps a few touches of Del Mar, where I grew up.

I began work on it this summer and was hopeful of getting it done before the end of he year, but I was overly optimistic, and I’m now shooting for March 1st. The first working title was Cypress Cove, but I found that title had already been used for a series. I then settled on Smuggler’s Cove, with he same results. For awhile it was Rum Beach, which is a good title, but gives the expectation of a Caribbean setting, which doesn’t fit. At this moment I’ve settled on Seal Cove, which is an actual cove about a mile from my house.

I’ve lived all but a couple of years in seaside towns and have never used the coastside as a setting for fiction (save for an unpublished novel called Fog Beach). Seal Cove is about life and death and aspirations and disappointments, expectations, surprises, hope and discovery. It’s about the people who live here, or might have lived here. They’re a nice group of people trying to find their way through life.

The People in My Head

Reading books allows you to live life through another’s eyes. So does writing books. As a result I’ll never write a story about social injustice, or hopelessness. It would make me too depressed. There are plenty of things in this world that inspire outrage, or anger, or pity, or disgust. If you read a book that centers on any of those themes, you’ll be done with it in a few hours, perhaps unsatisfied, but relatively unscathed. If you write that same book you’ll have to live with those characters and situations for months or years, and that can be very unsettling. My novel With Artistic License is a story about Paradise Lost and Paradise Regained. In it the main character is going through a divorce. To write fictional characters you have to put yourself in their place and see the world through their eyes. By the time I’d finished writing the novel I felt like I’d gone through a divorce myself, though I’ve been happily married for 40 years. The characters in my current work-in-progress have their problems, but no one’s situation is hopeless, and there are amusing moments, which keeps this writer happy.

I was hoping to finish by the end of the year, which now seems doubtful, but at least I’ll be spending that time with characters whose company I genuinely enjoy, whose problems are nothing too dire. As usual, I’m covering new ground. To be very successful as a writer (defined by the number of readers one has) it helps to stick to one genre. That way you can build a base of supporters. So far I haven’t covered the same ground twice. With Artistic License is a literary novel leaning toward dark romantic comedy. Time Management, a novel, is part fantasy, part historical adventure. Evelyn Marsh is a novel of psychological suspense. The one thing that ties them together is a wry sense of humor and uplifting endings.

Speaking of Evelyn Marsh, an audible edition will be coming out very soon. More on that in the next post.

 

Enter to Win a Goodreads Book Giveaway

In this era of unconstrained publishing, many authors give away their work for free. In principal I’m against the practice. I know of no other profession where the creator is expected to work for free. The average cost of my books runs to less than a penny a page, which I consider a bargain. Nonetheless, when you’re an unknown quantity it’s hard to get anyone to pay attention to creative work; there’s just too much available to winnow out the wheat from the chaff. Brand awareness has become more important than ever.

So in an effort to alert potential readers to my work, in the month of September I’m giving away four copies of Time Management, a novel, and five signed copies of Evelyn Marsh on Goodreads. You can find them here:

Goodreads Book Giveaway

Time Management by S.W. Clemens

Time Management

by S.W. Clemens

Giveaway ends September 15, 2017.

See the giveaway details
at Goodreads.

Enter Giveaway

Goodreads Book Giveaway

Evelyn Marsh by S.W. Clemens

Evelyn Marsh

by S.W. Clemens

Giveaway ends September 21, 2017.

See the giveaway details
at Goodreads.

Enter Giveaway