The Musical Life of an Author

Greetings for 2024!

I hope you had a lovely holiday period and are rested and ready for all the new year has in store for you. As for me, I continue dabbling at yet another novel in my FLU SEASON series, revising Book 4 and starting Book 5.

However, for those of you who may only know me as a writer of dubious fiction, in my previous life I was actually deep into music and known as a tuba player and composer. A strange set of circumstances indeed! I was reminded of that recently with the Netflix film MAESTRO, concerning the life of Leonard Bernstein. This blog post is not so much a review of that film, which I enjoyed very much, but the odd connections seeing this film brought back to me of my previous life.

Not long ago I watched another orchestra conductor movie, TAR, which turned out (after googling some info) to be entirely fictitious. I still enjoyed the film and it brought similar memories back to me. So I couldn't help but compare them and my own sordid career in music. Truth be told, after high school I became a music student at the Conservatory of Music in Kansas City. My goal was to become a Classical music composer at a time when rock'n'roll was king and top-40 pop ruled. I had written some music during high school and arranged others for our concert band, jazz band, and choir. (I also had a knack for writing stories at the time, mostly of science fiction or fantasy.)

At the Conservatory, I studied music theory and the related courses which had me composing more music. My instrument there was the tuba, which I had been playing since junior high school after starting on French horn at age 7 before switching. I was the principal tubist in the wind ensemble, the only tuba player in the orchestra. As part of my education, I learned to play several other instruments, including harp, mostly so I would know how to write music for them. Later, when I transferred to my parents' alma mater for my final two years, I also played in brass ensembles and had my music played in different situations and performed in  concert. It was a big thrill for me but I knew I was not up to the standards of the composers I admired.

At the Conservatory, I worked in the music library where I had easy access to all the music of the world. I knew Leonard Bernstein as a famous conductor and knew he had written West Side Story, Candide, and three symphonies - I listened to all of them, following along with the scores. This was a common way for me to learn how to compose and orchestrate music. One day I found a set of recordings titled The Unanswered Question, which was a series of lectures by Bernstein linking music and language which I found utterly fascinating. I listened to the reel-to-reel tape as I followed along in the accompanying booklets; I had no access then to the video version of the lectures, which are now available on YouTube. That was the limit of my Bernstein knowledge: conductor, composer, music teacher - nothing more about his life, relationships, provocations, and so on ever entered my understanding in those days as a music student.

So I eagerly anticipated the film and was pleased when I first watched it. It was not so much a documentary of his career but more a study of his relationship with his wife and their children during his career. This presented much that I hadn't known or considered wanting to know previously. Throughout the film excerpts of Bernstein's music filled the soundtrack, as appropriate. I didn't recognize many of them. One that caught my attention was the scene where Bernstein is sitting at his piano composing a new work. We hear the music as we see a close up of his pencil drawing notes and lyrics on the score paper set on the piano, an experience I, too, had often done in my youth. The music we hear is from his composition Mass, a re-envisioning of the traditional Latin mass. That music caused me to recall that I, too, had written a mass and I rushed to the nostalgia trunks in the basement to dig it up.

Not to toot my own horn, but... I scribbled out what I called a mass on green score paper, marking off the sections of instruments and chorus, using the traditional text. I was not a religious person wanting to create a mass so much as a composer who found inspiration in other masses, particularly by Berlioz, Mozart, and a few others. I recalled I had titled my mass the "Brass Mass" because it began with a magnificent brass fanfare. I got obsessed with finding it and twice I pulled out music I thought was it only to find as I read through it that it was not the Brass Mass but something else. Eventually, I concluded that "Brass Mass" was only my nickname and not the true title written at the top. At any rate, there it was: most of a mass, ready to be copied neatly from my scribblings! Oh, but that was long ago and far from where I am today as a scribbler of novels.

From the movie, I had to look for my CDs of Bernstein music. I opened the first of several boxes which I knew contained my collection of CDs and there - right on top - was the double CD box of Bernstein's three symphonies. It seemed to be an omen. Of course, I listened to them once more. I followed the scores on YouTube. I watched performances on YouTube with Bernstein conducting. I ordered a CD of Mass and went through it several times. I became a little obsessed with my music career that had been put away for so many decades as I switched to English and became a professor of English instead of Music. I feel a little sad that I made that turn, but it seems now is too late to dive back into that pool and hope to swim again. I still have that trunk full of music manuscripts, most of them never played even in a read-through session. I include here a few excerpts as a kind of proof. 

"Only the Music Moved" was a composition class assignment: we had to set the text to music. This is my version. You are welcome to play it, perform it, and enjoy it.

As for the subject of the film Maestro, I can see and perhaps understand the creative drive that pushed him, confounded him, and gave him pleasure. His was an uncanny life and career, so unlike those who preceded him (conductors and composers) and so forward-thinking in many respects in forming a particularly American musical genre (musical theater). Reviews have pointed to flaws and inaccuracies, but as a film focusing on the singular relationship at the center of his life, I think it was well-done and compelling as its own work of drama. It definitely is not a documentary or even a docu-drama but truly a work of film art. And I, too, had my period involved with film, once considering being a cinematographer.

But, alas, in Kansas City there were few opportunities I knew of or was willing to pursue. I expected them to open for me, to be invited in, rather than working hard and making connections, schmoozing and galavanting to get a project green-lighted. I was rather shy in those days, although I meant well and had, by my own admission, good ideas. C'est la vie! I had my chance. Nevertheless, I did succeed in my new career: switching to English, writing stories instead of music (but always using music to inspire stories), and when the publishing world evolved past sending a box of paper around to offices hoping someone might read them and make me famous, well, I happened to get something published. That began a new career for me.

Now my eighteenth novel is soon to be available (part of the FLU SEASON series) and, for what it may be worth, I am happy just to complete it to my satisfaction and make it available to readers. The rest, the remaining steps of the process, is up to readers. I could have written music to make myself happy, and shared it with those who might also enjoy it. But I learned early on how much trouble it was to copy out the parts for an orchestra work versus typing a single copy of a novel manuscript then taking it to Kinko's for additional copies to send out. I'm reminded of a 66-page single-spaced novelette I typed out during high school that I offered to a friend who passed it to another friend who passed it on around the school. Everyone loved it (a rip-off of 1984). I doubt that a piece of music would have been heard by as many fellow students as that stapled manuscript was read. Such is life. The experiences we have somehow inform other experiences and we reach a point where we see those connections and life makes sense.

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(C) Copyright 2010-2023 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

The Mother of All Writing Processes, Part 3

Yes, I know it's been more than a week since I ended a blog post with "next week..." but with a holiday weekend the next week and then necessary travels, it has been difficult to make the time and also connect to a stable wi-fi. However, rather than abandon you in the middle of the Writing Process, I have actually been allowing you time to complete the previous step: writing a draft.

Done yet?

If not, please return to the previous blog post on drafting.

If you still need help getting an idea, check this blog post.

Let's assume you have finished the draft. I define a draft (or "rough draft" or "first draft" as my students often call it) as the initial work in its totality from opening sentence to concluding sentence. This presupposes that it is not in its final form. We understand that work is needed on it but at least we have put together something that includes the beginning, middle, and end. This is the same for an essay in a class or for a novel. 

Now that we have the draft, it is time to move on to the next step.


Revision

I advise my students to write the drafts of their papers far enough before the deadline that they have time to take a break from it and return with fresh eyes. In an ideal world, this would work wonderfully. The reality, I suspect, is that the first draft is the final draft for too many of my students. Papers are often full of careless errors that even a run through the spellchecker would have caught. I try to impress upon them that their writing is a reflection of who they are, so writing well is to their own self-interest. Alas, I understand that for some the goal is not to produce a great paper but to get a paper produced as quickly and with as little effort as possible because, well, life holds much more interesting options than writing a paper. Nevertheless, there is a need to go through the Writing Process diligently in order to learn how to revise a paper for one's academic success if not for one's own personal writing enjoyment.

Novel or short story writing is different in many aspects, the revision process especially.

When I have finished a novel, I follow this protocol:

1. Give it some time to settle, then read it fresh from the top and make some notes for revision. I'm checking the general flow, the dramatic arcs, and if I enjoy the story.

2. Do a thorough line edit, scene by scene, chapter by chapter. (Some people do this last but I do it rather early in revision because I must correct problems as I see them - which tends to be on that first thorough read-through; it's the grammar police in me.)

3. Read it all again, thinking of plot holes to be plugged, rifles on mantlepieces that have not been fired, and any ideas not clearly expressed in either exposition or dialog. 

4. I check the consistency of the dialog, character by character. For example, If Queen Sandra always says "perhaps" then I need to change "maybe" to "perhaps". Another quirk I check is whether a character uses "but" or "yet" and whether a character often starts a sentence with "And" or "But" rather than not using a conjunction. Dialog is based on personal speech mannerisms so it is important to get them right for the character and be consistent in their use - unless the character is trying to mock another character, but that situation would be set-up so that it would be understood.

5. Read it all again to check that my previous efforts have made it better. If there are still issues, I need to return to Step 2 or 3.

6. Repeat step 5 as needed.

7. Read again and edit more, tweaking as appropriate up to the gates of insanity . . . or the deadline to turn it in, which ever comes first.


For every part of a work of fiction we must check a lot of minute details which a student essay writer need not bother with. There is the story itself. And that is constructed of scenes (see my theory of Aria and Recitativo in the previous blog post on drafting). Each scene has its own dramatic arc, whether it is short or long. Every scene must have a purpose: advance the story, intensify the conflict, develop a character, etc., and if the scene does not do something necessary to the overall story it must be cut! A famous saying is to "kill your darlings"; I say, just move your darlings into a new story down by the river.

Every scene consists of setting (time, place, weather) and characters interacting with each other, with the gods, with nature, thinking thoughts ("What should I do next?") and acting physical (swordfights!), as well as dialog. Not many humans pass through a scene without speaking; it's what we do. I like to believe a little frivolity is allowed in a scene because people do not get to the point in real life; they obfuscate and beat around the bush, then get pulled off on tangents, then return to their main idea. It's fine in fiction; not so much in an essay.

Because I think a lot and mull the text over for sometimes quite a while before actually typing, and because I edit as I go (see Drafting from the previous blog), I am usually pleased with the initial "rough draft" result. THE DREAM LAND Book III was my "dream" project because it flowed so easily and smoothly that it came out nearly perfect (in my humble opinion). I blame years of training and lots of coffee and a summer free from distraction for that miracle. After writing the first two volumes of the trilogy, I knew my characters like they were my own dysfunctional family. Only in a few scenes did I struggle to get it right, changing the words and then later changing them back several times until I said to myself "Enough!"

Most of the time, I write in layers: 

1. charge though with the basic plot, main dialog, etc.; 

2. fill out scenes, adding dialog, beefing up the action; 

3. checking the 5 senses in each scene and dialog tags and gestures (smiling, nodding, etc.). 

4. checking transitions between scenes and between chapters for dramatic effect.

I also revise fiction in layers.

A DRY PATCH OF SKIN, my so-called vampire novel, flowed well from the start but bogged down when I had to pause to do research. I was rolling but the research I needed to do stopped me. Rather than take time for that, I jumped ahead to the next scene. The writing was flowing again but once more had to pause to do research. I finally decided to just write it straight through to the end (the "first draft") and go back later to add in researched information, in this case, medical data. Rather than info-dump the medical stuff, I created dialogues between doctors and my protagonist, filled with asides, jokes, miscommunication, and so on wrapped around the medical information the reader needed to know. 

For my arctic drama, A GIRL CALLED WOLF, the revision process was different than anything I'd done before. Because the story was based on the childhood and youth of a living person, every chapter I sent to that person for comment. I blogged about this process previously. Instead of me deciding if I had gotten the scene right, at least in a dramatic sense, I also had the person who lived it judging whether I had depicted it in a suitable way. We agreed that to report every little episode might be tedious for the reader so we agreed to combine some and omit others. Keep the drama true to the reality of each event was a constant and delicate balance that went well beyond line editing.

Each project has its own writing process, obviously, and each kind of story may also have its own method of creation. I try not to judge, but go with the flow. Although I've settled on what works for me, each project is a new adventure. My muses seem to know what's best, although they often trick me and laugh at the results.

I know I have some quirks in writing, the set phrases I seem to use over and over. I know I tend to overuse certain words. "Almost" - to mean less of whatever the subject or descriptive term is (e.g., His smile was almost warm.), is my worst offender. I also like to type "form" when I mean "from"! Therefore, as a final step, I usually run a special check of those particular words and phrases and edit each one personally, individually, according to the situation in the scene. It is a laborious process, but I am old-school and do not trust technology to do everything for me exactly as I would wish it to be. I have been tricked before. So I take the time to look with my own eyes at every instance of imperfection and fix it myself. Yes, I do suffer for my art. It's also why I wear glasses.

For the evil essay, I have compiled over the many semesters of composition classes all of the most common errors I find on student papers. Some of them are easy to see because students write about similar things that are common experiences and of common interest. There is a common style among beginning writers. (I have a dream where I show them once how to write something correctly and they remember it forever.) I've previously blogged about the list. Not everything on this Little Notes on Little Errors will apply to fiction, but perhaps much of it will be of service.

So that is something about how my writing process works. In short, it's a rough process at best, and the devil is somewhere between the details, waiting for opportunities to thwart my good intentions. The other side of the writing process, as all writers know, is that without the writing we nearly cease to exist. I cannot go very long without having a project to work on, either writing something new or working on an existing or older project such as preparing it for publication, no matter how long that takes. Otherwise, I wither and die. Nothing keeps me alive like the desire to know what happens next. And I won't know until I write it.

P.S. - You would not believe how much revision I had to do on this bog post! My fingers do not obey! My eyes trick me! And the spellchecker does not work tonight. But I got it done.


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(C) Copyright 2010-2016 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

The Mother of All Writing Processes, Part 2

Remember that Writing Process thing from last week? 

First you get an idea, then you write it. Simple, isn't it? 

If you're writing an essay for a class, just follow the basic pattern that was outlined in ancient days by one cool Greek dude named Aristotle. That's right: he was so cool he only needed one name. His brilliant idea was that every speech (writing wasn't too cool back then but everyone liked speeches) had three parts: Beginning, Middle, and End. It's hard to believe now that nobody had thought of that until Aristotle did. Today we call those three parts: Introduction, Body, and Conclusion. Got it?


The reason there are three parts is because each part has a particular function. The Introduction introduces the subject of the essay or speech and sets up your audience to want to read (or listen, if it's a speech). The Body is where you present examples or other information that develops, explains, or illustrates the subject you are writing about (or speaking about). The Conclusion is the last part; it's where you summarize your idea, maybe ask people to do something, and wrap it up so your audience feels good.


The same is not true of fiction writing, however. The rules are made to be broken - which is the reason we teach the rules first (see above). Either way, the writing of the first ever text that comes out of your head is called the Draft. Sometimes people number them: first draft, second draft, and so on, just to make it seem as though they are working very hard!



Drafting

Above, I briefly described the kind of writing process that I push on students. To some extent it holds true for any writing task. Even for fiction. However, fiction is more delicate, more fragile, and the idea of a story is subject to so many more mini-steps than an academic essay. I would need to address "my" personal writing process in light of each book I've written in order to cover all of the situations, but that would require about a year's worth of blogging. I've described the "getting ideas" step previously. The next step, drafting, usually requires me to craft scenes. Rather than think of the entire story, I focus on one section at a time. I began using this approach while writing A BEAUTIFUL CHILL and I have employed the strategy ever since.

The one great thing I learned in my MFA Creative Writing program came from the visiting writer-in-residence he had one semester. David Huddle, who I'd never heard of prior to his arrival, taught the formula which I've come to call the Aria - Recitativo structure. I forget what he called it, but we read many examples of this two-pronged attack strategy. Rather than get bogged down thinking of the whole story, which could be overwhelming, we just focus on one scene. Then the next scene.

A scene is a moment in time, written and read in real time, moment by moment. Action happens in about the same time it takes to read it. Characters act, speak, live - which moves the story along. Between the scenes is what is called exposition. It is a compression of time and events, because they are not so interesting in themselves and they are of little consequence. It's the information we need to get to the next scene. We tell something to bridge the gap. We could say that the scene is the "showing" while the exposition is the "telling" part of the story.

So we have two parts of a story: the scenes and the exposition. In operatic terms, these are the Aria and the Recitativo. The Aria is a set-piece where the actors/singers stop the story and sing a song about how they feel or what the problem is or anything else that reveals something of the central issues of the story - separate from the story line itself. Then we move into Recitativo ("recitation"), which is simply the information we need to move us on to the next Aria. People don't go to an opera for the recitativo, nor do readers buy a book for the exposition passages. But the exposition parts are necessary for tying aria to aria and scene to scene.

Granted, this is a simplification of both the structure of an opera and the structure of a novel, but if you examine contemporary novels, you are likely to see this structure. I've also heard it said that this writing style, this system in particular, has come about in parallel with the film industry. Younger writers write prose as though they are seeing the action in a movie, which tends to be composed in scenes or set-pieces, much like in an opera. By the same token, readers, experienced with the shorter, more succinct and set narrative patterns of television and film, seem to prefer this structure, as well.

So that is the basic process of drafting for me. I seldom create a full outline but, rather, rough it ahead a few chapters or scenes at a time. For example, I need a scene to show X happening or a scene where Protagonist realizes Y or decides Z. Often I begin in the middle of a scene (that's the cool term known as "medias res"). I fill in what-happened-before as I go on with the scene. I try to avoid starting a scene with a setting description, at least not a long one. Knowing I have a tendency to wax poetic with wonderfully adroit metaphors, I try to keep the writing as lean as I can. Once in a while, especially where a character's emotions are revealed, I allow myself a worthwhile indulgence of verbosity. Editors hate me for that, of course.

At each writing session (when I have no particular schedule that would limit my effort), I begin by reading what I previously wrote and editing as appropriate. (That is actually part of the next step: revision.) That reading/editing activity gets me up to speed in the story and when I have arrived at the point where I stopped previously, I am ready to charge ahead into new scenes. Occasionally, I may awaken with a new scene already in my head and I will write it out before determining where it should go in the story. Sometimes, I awake and write the scene that is in my head without editing the previous section first. Sometimes, I just stare at the computer screen waiting for the muse to whisper into my ear. While waiting, I drink a lot of coffee.

I also like to play music which helps to set the mood of the scene or for the story in general. For example, as I wrote my vampire book, A DRY PATCH OF SKIN, I dared play music from the films of Twilight, although it did not cause me to borrow anything else. The music must be without English lyrics because the words in my ear distracts me from the words in my head. While I wrote Book III of THE DREAM LAND trilogy, I listened to a fine collection of "Epic" music, typical of video games and sci-fi films - selecting one or another which I believed fit the scene I was writing. (See a sample here.) 

For my latest book, A GIRL CALLED WOLF, which is set in the arctic, I searched for music which evoked the cold, windswept ice cap and rough mountain terrain. I found a selection on the album Miracles by popular music group Two Steps from Hell. This track ("Color the Sky") would open the movie of this story: soaring over the ice-filled sea, the bare crags of mountains, the thick ice cap, both beauty and starkness combined. Or, listen to this track  ("Northern Pastures") and imagine racing over through the snow on a dog sled, the green aurora waving over your head, icy wind blowing into your face, and you are a 12 year old orphan girl living alone, half fun and half fearful. A couple tracks actually changed the story a little because they conjured different scenes than what I originally had planned - just so I could play the song that went with the scene over and over. Not every track of the album fit the story, of course, but I drew from several sources to compile my own "soundtrack" playlist.

I tend to have two writing sessions: first thing in the morning and last thing at night. Mornings are good for editing or cobbling out a fresh scene straight from my dreams. It's also good for building on whatever I wrote previously. Night is best for fresh composition - providing I can get motivated. The irony is that I am usually exhausted physically and mentally before the words can come easily. Mornings, I tend to trudge zombie-like to the computer and start typing without too much "waking up" even as the coffee is being made. I'm really surprised how correct my typing is at that early hour; the more I awaken, the worse it gets. I think in both cases my filters are down and that allows unobstructed creation.  Darn Muses, always playing games with my head!

I write novels a lot more than anything else. I have written plenty of essays (or the upscale equivalent known as scholarly articles) and they tax my patience. The story, or the bundle of scenes in a novel, allow me much more free rein, which is what I enjoy. I pity my students writing essays about whatever interests them but the curriculum is set and I alone cannot change it much. If only they were writing stories of mystery and mayhem on misty moors....


NEXT WEEK: The Rules of Revision (or what to do after you are finished)


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(C) Copyright 2010-2016 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.