When It Gets Challenging

It’s a tough time of year. The weather is hot, both in the way that August is always hot and the way that portends the ever-nearing climate apocalypse. The autumn is nigh. In the way that August always precedes the too-fast downhill slope into the holidays and the end of the year.

We’re housesitting for a few days in a beautiful house with air-conditioning and a calm, well-behaved dog. An ideal writer’s retreat… but I am not being the ideal writer. It makes me feel ashamed of passing hours lacking in accomplishments, and it’s all too easy to make the mental jump from passing of hours to the passing of ones life.

I have my reasons for minimal output, as maybe writers always do. So far, 2019 has been yet another year of almosts, of promises, of feigned excitement and “contracts on their way from business affairs,” that in the end turn into nothing. Some “untruths” are no doubt innocent, others intentional — they are plentiful enough to have some of each.

So what should I be writing? I have two stories, a feature in need of a rewrite, and three feature outlines all begun, and I find myself in a state of paralysis, unable to make a good dive into any of them.

There is the pervasive Hollywood myth, that I am realizing is much the same as myths perpetuated by abusers everywhere, that there is some right choice, some story, that (if you can execute it in a way that’s transcendent) will make the relationship healthy, will make the abuser act not act like a sociopath. If you can just be GREAT ENOUGH then THIS TIME all the promises will be made good on. THIS TIME you will be pulled from your indentured servitude into the rosy future — if you can pass all the tests and reach it.

I’ve come to recognize this as the psychological fuckery it is, and I don’t believe in it anymore… except when I do. Like a seven-year-old coming to certain conclusions about Santa, I’m still like, “but WHAT IF?” What if he does exist and there are awesome presents that you get because you’re good?

So, there’s still this temptation to place an irrational weight on choosing which project to invest in, because what if one of them has the potential to be a project that CHANGES EVERYTHING and what if I choose wrong? Or, what if NONE of them will change everything, but there’s a project that will at least give me personal satisfaction, but instead I’m choosing to chase promises and pots of gold at ends of rainbows again?

At this point, either my compass is so messed up or — because it’s actually impossible for anyone to predict — I’m having difficulty even choosing what will give personal satisfaction. Which project, a year from now, will be worth the frustration of finishing a draft and realizing I need to tear it down to the bones and build it again and then again?

So here I am at a fork in the road, unable to choose a way forward, waiting for clarity.

At least there’s a pool.

 

 

 

Words To Drive By “Tribe”

EPISODE 02: “Tribe”
(After the Storms, Part 2)

SUMMARY: In a dystopian future, a woman juggles memories of her former life with her growing feelings for someone new as she and her nomadic tribe face a dwindling water supply in the desert.

NOTES:
This story was first published in an anthology, *Turning Points: Stories About Choice and Change*.
The story was published singly, but is the second of three interrelated stories called “After the Storms.”

Greg Gordon Smith composes and sound designs this and every episode. He has a website. Ted Giffin made the show art.

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Writing: Obstacles and Stakes

The other day, I was asked to give notes on a short script that had an interesting premise and main character and cool settings, but felt lacking in dramatic dramatic tension. In my notes I talked about obstacles and stakes, which are elements that come up commonly enough with clients or students, that I thought I might do a mini-lesson here.

Here’s a simple four-step structure you might use for a short film:

  1. A character has a goal.
  2. The character makes a plan to achieve that goal.
  3. The character attempts to execute the plan.
  4. The character succeeds or fails in the plan = outcome / aftermath.

Here’s an example that matches that goal. (EXAMPLE 1)

  1. A cat wants the kitty-treats on top of the fridge.
  2. The cat plans to jump on the counter, and then to the top of the fridge.
  3. The cat jumps to the counter, and then to the top of the fridge.
  4. The cat eats the treats.

What would happen if we added some obstacles and stakes to this story?

OBSTACLES in writing are pretty much the same as obstacles in life — they are whatever gets in the way of our progress toward a goal. These can internal, like self-doubt or external as in this case: Let’s say that there’s a pile of dishes on the counter, waiting for their turn in the sink. There’s only a TINY area of counter where the cat can land without dislodging a dish…

STAKES are what a character stands to gain if she succeeds or lose if she fails. We already know what our kitty-cat gets if she reaches the top of the fridge — delicious cat treats, but we can make those treats a little more important. Let’s say the cat didn’t get any dinner, so she is legit HUNGRY. Maybe her owner was making an important romantic dinner for someone, got distracted and forgot to feed the cat. (Then she brought the dishes into the kitchen, and forgot again!)

So what happens if the cat FAILS? If the cat jumps and lands badly, she will dislodge a pile of dishes — they will come CRASHING to the floor, breaking the good china and ruining the romantic vibes happening in the next room. The cat’s owner will be pissed, and will throw the cat outside — still with no dinner! Oh — and it’s RAINING outside!

What does our story look like now? (EXAMPLE 2)

  1. The cat, locked in the kitchen, looks mournfully at her empty bowl. Her stomach growls. She looks at the treats on top of the fridge and licks her lips.
  2. The cat evaluates her route to the top of the fridge. There’s a pile of fragile dishes on the counter, but there’s also just enough space for a pair of kitty feet. The cat decides to go for it.
  3. The cat jumps to the counter and lands perfectly on the counter — but what she didn’t see was — it’s WET. As she makes her leap to the fridge, her paws SLIP! She madly claws for the top of the fridge but doesn’t make it and falls backwards. Now she’s in danger of smashing the dishes AND seriously injured! [We’re RAISING the stakes.] BUT at the last moment, she TWISTS and sinks her claws into the CURTAIN on the window. She climbs the curtain, and drops down to the top of the fridge!
  4. The cat happily digs her nose into the bag of treats.

THE END

Words to Drive By “Room”

EPISODE 01: “Room”
(After the Storms, Part 1)

SUMMARY: In a near-future dystopia, two people check into a hotel room knowing only one will check out.

NOTES:
This story was first published in Devilfish Review (sadly, now defunct). It stands alone, but is the first part of a trilogy of stories called “After the Storms.”

A few years back I took a class taught by one of my favorite teachers,  Richard Rayner. Each week we were tasked to write 400 words from a prompt provided by Richard. This one was: 

A sick man and his younger wife check into a hotel room. He tells her a story and orders drinks which are brought by room service. The man has something to drink, says something, and then he dies.

I don’t remember what I turned in for my 400-word assignment, but it’s safe to guess that my constant and pervasive anxiety about climate change was already seeded in. The hotel room setting is inspired by The Hollywood Athletic Club, where, like Jerry and Beth, my husband and I took a weekend “staycation” one sweltering summer. 

Greg Gordon Smith composes and sound designs for this and every episode. You can see more of what he does on his Vimeo page

The cover art is by the talented and prolific Ted Giffin.

Also, you can SUBSCRIBE to this podcast on your favorite player:
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I’m Shortlisted for a Chapbook Competition!

February 7, 2019

After a close-but-no-cigar a semi-finalist finish in the Black River Chapbook Competition last week (which was still lovely and encouraging). Today I received this letter from The Sonder Press.

Dear Barrington

Congratulations! Your chapbook, After The Storms: A Tryptych has been shortlisted for our 2018 competition. You will be notified by February 8th if your manuscript has won, and been selected for publication. Runners-up may also be selected for publication independent of the prize. We do ask that at this time, if your work is simultaneously submitted elsewhere, you withdraw it from any outstanding competitions/presses. Please let us know if you have any questions or concerns. We look forward to speaking again soon.

Fingers crossed for this! When I find out tomorrow I’ll update this post with the verdict!

In the meantime, you might want to check out Sonder Press / Review’s cool-looking website.

Update, February 9: They wrote to say they need a few more days to decide.

Update, February 15: I’ve waited a couple days to post so they could do their press release and site update — but here’s the verdict.

Dear Barrington Smith-Seetachitt,

After an extremely difficult deliberation, we regret to inform you that your chapbook After The Storms: A Triptych has not been selected for our 2018 prize. It has, however, been awarded an Honorable Mention as one of the top five manuscripts under consideration. Our official press release announcing the winner, runners-up, and honorable mentions will be released Thursday and our website will be updated accordingly. We were very impressed with your work and encourage you to submit again in the future, to both our press and review, we would love an opportunity to read your work again.

I’ll post a link to the winners when it goes up, with a congrats to them. I’m sure I’m in very good company!