In the midst of his answer, he gave this amazing quote on writing:

Being a writer is a God-given talent. It comes from a source outside of oneself, and every artist knows that. Those who deny it, who are grandiose and indicate they acquire ability and think it is something manufactured within themselves, will lose themselves. Faulkner said at his death, “Had I not written the books, another hand would have written them for me.”

Some folks ask me why I wear a small medallion of Saint Joan of Arc around my neck.  While she isn’t the patron saint of writers (that goes to Saint Francis de Sales), Burke’s answer above comes about as close as I can get to an answer.

I also love the fact that although he is classified as a mystery writer, he names no mystery writers as his influences during the early part of his career.

I guess my own influences would be John Steinbeck, John Irving, Charles Dickens, Jack Kerouac, Rex Stout and Erle Stanley Gardner.

Two mystery writers out of six.  Not too bad.

James Lee Burke on Writing is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?

I got to the hotel about noon and got the coveted Parking Spot In The Hotel Parking Lot. While there was plenty of parking around the hotel, some of it was legal, and some of it was not, as I heard reports of police cars, metering golf carts and tow trucks circling the area pretty much the whole weekend. Sure, it cost me $10 a day, but getting your car out of the impound costs even more.

Met some amazing people. They were kind, funny, supportive and very welcoming to your loyal scribe, who was a first time Guest Author. People such as award winning and best selling horror writer Andrea Dean Van Scoyoc, and her publicist (and maybe soon to be mine) Katrina Stiles, epic Fantasy writer M. B. (Michelle) Weston, well-known horror writer Richard Lee Byers, actor Jeffrey Breslauer, triple threat actor/director/producer Joel Wynkoop (I even filmed a promo for his Wynkoop TV!), and many others.

The above folks have great websites, and are also probably on MySpace and Facebook, so I hope you’ll visit them, support them, find out about their various projects and tell them that Bill sent you. Of course, that will mean nothing, but I’ll think it’s funny.

My Myrddin peeps didn’t make it for the most part, due to illnesses, children and other real world catastrophies, but special thanks go out to Zan and Skip, who did make it. Especially to my girl Zan, who stalked me at every panel I did, and got some great photos of yours truly in action. I hope to post those later.

5 minutes after meeting Andrea, we discovered that we were both self-publishing mavericks and evangelists, and both think that Lulu.com hangs the moon. She was kind enough to invite me to speak and teach with her at her “So You Want To Self Publish” panel. I recorded it for posterity and will hopefully be posting that hour long session here soon in MP3 format for everyone to enjoy and hopefully get empowered and educated and excited about sharing their stories and characters through quality writing and self-publishing.

We also decided that amazon was The Man and The Devil, in that we can’t keep track of our book sales and royalties, so I’ve deleted all the amazon links from my site. All links now go to Lulu, who will provide you faster service, better packaging, and take PayPal, which is very important to folks, I found out this weekend. Con folks love them some PayPal, and Lulu takes PayPal, so there you go. I bow to the wisdom of the masses. Of course, if you still want to purchase the books through amazon, have at it, but it will make the Baby Jesus cry. Just saying.

Oh, and for the folks at the “Creating Memorable Characters” panel I was on, the name of the book that I was struggling to remember is Victoria Schmidt’s 45 Master Characters. As I said, this is an amazing book, and one that there is totally no shame in using when starting to create your main characters or even your secondary characters; start with one of these archetypes and then flip it and spin it and add those great details and quirks that make it your own. Bonus points to anyone who can write me and tell me which archetypes Denton and Monty are. I didn’t use the book to create them, but they happen to fit nicely into two specific archetypes that Schmidt discusses.

As I said above, this was an amazing convention. I didn’t get to do a lot of the stuff that I did as a regular member (read: drinking, carousing, smooching) but I did get a lot of networking done and met some great fellow professionals. That and it’s a tax write-off! Yay!

As soon as the dust settles, I’ll write another update and post photos and the Self Publishing sound files. There will be some great things happening real soon; I can feel it in the air, like a cool brisk December breeze. I’ll keep you up to date, but must close and say a very heartfelt thank you to all of you for your kindness, your support and your friendship.

NecronomiCon – The First Report is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?

10pm, Friday
You Don’t Have to Write F& SF – Authors who’ve written in genres other than fantasy & science fiction talk about their reasons for moving outside those genres and how you can make that move.

10am, Saturday
Florida Unreal Estate – Authors discuss the use of our native state as the location for their stories and novels.

11am, Sunday
Creating Memorable Characters – Authors clue you in on how they write the characters you love or love to hate.

My Schedule At NecronomiCon is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?

“Look! I’m Typing! And Drinking Coffee!” is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?

A Confederacy Of Dunces by John Kennedy Toole – This book is a lightning rod. Either you love it or hate it. There is no inbetween to those who have entered the madcap, highly satirical world of John Kennedy Toole and his fictional modern day Don Quixote, Ignatius J. Reilly. I still have my original dog-eared paperback copy that I bought the year it won the Pulitzer. Only two books have made me laugh so much that I thought I was gonna rupture something. This is one of them. Toole does so many things right in this novel. He gets the people right – their quirks, their dialogue, their interactions with each other and their surroundings. He gets the place right – you can literally see old New Orleans of the 1960’s coming back to life before your very eyes. These days though, I must admit it makes me a bit sad, knowing that Nawlins will never be the same after Hurricane Katrina and the subsequent clusterfuck that was the attempt at restoration by FEMA and the Bush Administration. But if you want a comedic, episodic novel that you can really just devour and get a good laugh out of, please do pick up this story.

The Grapes of Wrath by John Steinbeck – John Steinbeck makes me want to be a better person and a better writer. I own all of his works and this one stands out (as well it should). There is a reason that every English teacher on the planet requires it to be read. The compassion, the true heart of this brilliant (yet I will admit, uneven) writer comes across on every page as we join the Joad family on their journey to California. If you’ve read “Everlasting Life”, my second Denton and Monty mystery, then you know just how much affection I have for this novel. I think that the above mentioned force-feeding really turns a lot of people off this novel, which is unfortunate. There are so many layers, so many things going on, besides the trip West, that as a novelist, it’s such a joy to peel back those layers and learn more about the art of writing.

The Stand by Stephen King – I love this book. It’s my guilty pleasure. Say what you will about King, he can tell a story. When he’s on his game (The Shining, The Green Mile, The Stand) he’s one of the best. Other times, he just rambles on and really needs a good, strong editor to cut those page counts. I’ve heard King describe this book (his most popular) as his version of The Lord Of The Rings. Good versus Evil. A Journey. The awakening of the hero in every man and woman. If you’re unsure of the book, look for the shorter, original printing as opposed to the newly reissued extended version of the book. Both had King’s blessings, of course, but the first version had a pretty strong editor and the second put back in everything the first editor took out. For me, I have both versions and it depends on what kind of mood I’m in. If I want my post-apocalyptic adventure on the hurry up, then I read the original version. If I want to take my time and really savor it, get to know the characters even better and deeper, I get the extended version.

Dune by Frank Herbert – Possibly the most fully realized science fiction novel of all time. Herbert has created a world and a universe so complete, so complex that it just blows my mind. There is a reason that it has never been out of print since it first blew away the sci-fi fandom community in the 1960’s. If you’re dead set against science fiction, this book may change your mind. As I am somewhat of a purist when it comes to Herbert and his Dune universe, it might surprise you to know that I actually really like the cinematic adaptations that have been made so far. The David Lynch movie, the two made-for-TV mini-series, I thought they all did justice to bringing Herbert’s vision to life. But because of this snobbery, I also hate, hate, hate the recent ‘continuation’ of the series by Herbert’s son Brian, and Kevin J. Anderson, neither of which could write their way out of a brown paper bag. My opinion is that you should avoid them at all costs, but that’s just me. Being a snob.

Five Novels I Cannot Live Without is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?

I wanted to reproduce this amazing, heartfelt speech in its entirety here, to remind myself, and to remind perhaps others who write, be it fiction or non-fiction, that books are sacred things.

It’s a long speech, but an important one. Be patient, breathe deep, and read.

Ladies and Gentlemen, Doris Lessing.

I am standing in a doorway looking through clouds of blowing dust to where I am told there is still uncut forest. Yesterday I drove through miles of stumps, and charred remains of fires where, in 1956, there was the most wonderful forest I have ever seen, all now destroyed. People have to eat. They have to get fuel for fires.

This is north-west Zimbabwe early in the 80s, and I am visiting a friend who was a teacher in a school in London. He is here “to help Africa”, as we put it. He is a gently idealistic soul and what he found in this school shocked him into a depression, from which it was hard to recover. This school is like every other built after Independence. It consists of four large brick rooms side by side, put straight into the dust, one two three four, with a half room at one end, which is the library. In these classrooms are blackboards, but my friend keeps the chalks in his pocket, as otherwise they would be stolen. There is no atlas or globe in the school, no textbooks, no exercise books or Biros. In the library there are no books of the kind the pupils would like to read, but only tomes from American universities, hard even to lift, rejects from white libraries, detective stories, or titles like Weekend in Paris and Felicity Finds Love.

There is a goat trying to find sustenance in some aged grass. The headmaster has embezzled the school funds and is suspended. My friend doesn’t have any money because everyone, pupils and teachers, borrow from him when he is paid and will probably never pay it back. The pupils range from six to 26, because some who did not get schooling as children are here to make it up. Some pupils walk many miles every morning, rain or shine and across rivers. They cannot do homework because there is no electricity in the villages, and you can’t study easily by the light of a burning log. The girls have to fetch water and cook before they set off for school and when they get back.

As I sit with my friend in his room, people shyly drop in, and everyone begs for books. “Please send us books when you get back to London,” one man says. “They taught us to read but we have no books.” Everybody I met, everyone, begged for books.

I was there some days. The dust blew. The pumps had broken and the women were having to fetch water from the river. Another idealistic teacher from England was rather ill after seeing what this “school” was like.

On the last day they slaughtered the goat. They cut it into bits and cooked it in a great tin. This was the much anticipated end-of-term feast: boiled goat and porridge. I drove away while it was still going on, back through the charred remains and stumps of the forest.

I do not think many of the pupils of this school will get prizes.

The next day I am to give a talk at a school in North London, a very good school. It is a school for boys, with beautiful buildings and gardens. The children here have a visit from some well-known person every week: these may be fathers, relatives, even mothers of the pupils; a visit from a celebrity is not unusual for them.

As I talk to them, the school in the blowing dust of north-west Zimbabwe is in my mind, and I look at the mildly expectant English faces in front of me and try to tell them about what I have seen in the last week. Classrooms without books, without textbooks, or an atlas, or even a map pinned to a wall. A school where the teachers beg to be sent books to tell them how to teach, they being only 18 or 19 themselves. I tell these English boys how everybody begs for books: “Please send us books.” But there are no images in their minds to match what I am telling them: of a school standing in dust clouds, where water is short, and where the end-of-term treat is a just-killed goat cooked in a great pot.

Is it really so impossible for these privileged students to imagine such bare poverty?

I do my best. They are polite.

I’m sure that some of them will one day win prizes.

Then the talk is over. Afterwards I ask the teachers how the library is, and if the pupils read. In this privileged school, I hear what I always hear when I go to such schools and even universities. “You know how it is,” one of the teachers says. “A lot of the boys have never read at all, and the library is only half used.”

Yes, indeed we do know how it is. All of us.

We are in a fragmenting culture, where our certainties of even a few decades ago are questioned and where it is common for young men and women, who have had years of education, to know nothing of the world, to have read nothing, knowing only some speciality or other, for instance, computers.

What has happened to us is an amazing invention – computers and the internet and TV. It is a revolution. This is not the first revolution the human race has dealt with. The printing revolution, which did not take place in a matter of a few decades, but took much longer, transformed our minds and ways of thinking. A foolhardy lot, we accepted it all, as we always do, never asked: “What is going to happen to us now, with this invention of print?” In the same way, we never thought to ask, “How will our lives, our way of thinking, be changed by the internet, which has seduced a whole generation with its inanities so that even quite reasonable people will confess that, once they are hooked, it is hard to cut free, and they may find a whole day has passed in blogging etc?”

Very recently, anyone even mildly educated would respect learning, education and our great store of literature. Of course we all know that when this happy state was with us, people would pretend to read, would pretend respect for learning. But it is on record that working men and women longed for books, evidenced by the founding of working-men’s libraries, institutes, and the colleges of the 18th and 19th centuries. Reading, books, used to be part of a general education. Older people, talking to young ones, must understand just how much of an education reading was, because the young ones know so much less.

We all know this sad story. But we do not know the end of it. We think of the old adage, “Reading maketh a full man” – reading makes a woman and a man full of information, of history, of all kinds of knowledge.

Not long ago, a friend in Zimbabwe told me about a village where the people had not eaten for three days, but they were still talking about books and how to get them, about education.

I belong to an organisation which started out with the intention of getting books into the villages. There was a group of people who in another connection had travelled Zimbabwe at its grassroots. They told me that the villages, unlike what is reported, are full of intelligent people, teachers retired, teachers on leave, children on holidays, old people. I myself paid for a little survey to discover what people in Zimbabwe wanted to read, and found the results were the same as those of a Swedish survey I had not known about. People want to read the same kind of books that people in Europe want to read – novels of all kinds, science fiction, poetry, detective stories, plays, and do-it-yourself books, like how to open a bank account. All of Shakespeare too. A problem with finding books for villagers is that they don’t know what is available, so a set book, like The Mayor of Casterbridge, becomes popular simply because it just happens to be there. Animal Farm, for obvious reasons, is the most popular of all novels.

Our organisation was helped from the very start by Norway, and then by Sweden. Without this kind of support our supplies of books would have dried up. We got books from wherever we could. Remember, a good paperback from England costs a month’s wages in Zimbabwe: that was before Mugabe’s reign of terror. Now, with inflation, it would cost several years’ wages. But having taken a box of books out to a village – and remember there is a terrible shortage of petrol – I can tell you that the box was greeted with tears. The library may be a plank on bricks under a tree. And within a week there will be literacy classes – people who can read teaching those who can’t, citizenship classes – and in one remote village, since there were no novels written in the Tonga language, a couple of lads sat down to write novels in Tonga. There are six or so main languages in Zimbabwe and there are novels in all of them: violent, incestuous, full of crime and murder.

It is said that a people gets the government it deserves, but I do not think it is true of Zimbabwe. And we must remember that this respect and hunger for books comes, not from Mugabe’s regime, but from the one before it, the whites. It is an astonishing phenomenon, this hunger for books, and it can be seen everywhere from Kenya down to the Cape of Good Hope.

This links up improbably with a fact: I was brought up in what was virtually a mud hut, thatched. This kind of house has been built always, everywhere where there are reeds or grass, suitable mud, poles for walls – Saxon England, for example. The one I was brought up in had four rooms, one beside another, and it was full of books. Not only did my parents take books from England to Africa, but my mother ordered books by post from England for her children. Books arrived in great brown paper parcels, and they were the joy of my young life. A mud hut, but full of books.

Even today I get letters from people living in a village that might not have electricity or running water, just like our family in our elongated mud hut. “I shall be a writer too,” they say, “because I’ve the same kind of house you were in.”

But here is the difficulty. Writing, writers, do not come out of houses without books.

I have been looking at the speeches by some of the recent Nobel prizewinners. Take last year’s winner, the magnificent Orhan Pamuk. He said his father had 500 books. His talent did not come out of the air, he was connected with the great tradition. Take VS Naipaul. He mentions that the Indian Vedas were close behind the memory of his family. His father encouraged him to write, and when he got to England he would visit the British Library. So he was close to the great tradition. Let us take John Coetzee. He was not only close to the great tradition, he was the tradition: he taught literature in Cape Town. And how sorry I am that I was never in one of his classes; taught by that wonderfully brave, bold mind. In order to write, in order to make literature, there must be a close connection with libraries, books, the tradition.

I have a friend from Zimbabwe, a black writer. He taught himself to read from the labels on jam jars, the labels on preserved fruit cans. He was brought up in an area I have driven through, an area for rural blacks. The earth is grit and gravel, there are low sparse bushes. The huts are poor, nothing like the well-cared-for huts of the better off. There was a school, but like the one I have described. He found a discarded children’s encyclopaedia on a rubbish heap and taught himself from that.

On Independence in 1980 there was a group of good writers in Zimbabwe, truly a nest of singing birds. They were bred in old Southern Rhodesia, under the whites – the mission schools, the better schools. Writers are not made in Zimbabwe, not easily, not under Mugabe.

All the writers travelled a difficult road to literacy, let alone to becoming writers. I would say learning to read from the printed labels on jam jars and discarded encyclopaedias was not uncommon. And we are talking about people hungering for standards of education beyond them, living in huts with many children – an overworked mother, a fight for food and clothing.

Yet despite these difficulties, writers came into being. And we should also remember that this was Zimbabwe, conquered less than 100 years before. The grandparents of these people might have been storytellers working in the oral tradition. In one or two generations, the transition was made from these stories remembered and passed on, to print, to books.

Books were literally wrested from rubbish heaps and the detritus of the white man’s world. But a sheaf of paper is one thing, a published book quite another. I have had several accounts sent to me of the publishing scene in Africa. Even in more privileged places like North Africa, to talk of a publishing scene is a dream of possibilities.

Here I am talking about books never written, writers who could not make it because the publishers are not there. Voices unheard. It is not possible to estimate this great waste of talent, of potential. But even before that stage of a book’s creation which demands a publisher, an advance, encouragement, there is something else lacking.

Writers are often asked: “How do you write? With a word processor? an electric typewriter? a quill? longhand?” But the essential question is: “Have you found a space, that empty space, which should surround you when you write? Into that space, which is like a form of listening, of attention, will come the words, the words your characters will speak, ideas – inspiration.” If a writer cannot find this space, then poems and stories may be stillborn. When writers talk to each other, what they discuss is always to do with this imaginative space, this other time. “Have you found it? Are you holding it fast?”

Let us now jump to an apparently very different scene. We are in London, one of the big cities. There is a new writer. We cynically enquire: “Is she good-looking?” If this is a man: “Charismatic? Handsome?” We joke, but it is not a joke.

This new find is acclaimed, possibly given a lot of money. The buzzing of hype begins in their poor ears. They are feted, lauded, whisked about the world. Us old ones, who have seen it all, are sorry for this neophyte, who has no idea of what is really happening. He, she, is flattered, pleased. But ask in a year’s time what he or she is thinking: “This is the worst thing that could have happened to me.”

Some much-publicised new writers haven’t written again, or haven’t written what they wanted to, meant to. And we, the old ones, want to whisper into those innocent ears: “Have you still got your space? Your soul, your own and necessary place where your own voices may speak to you, you alone, where you may dream. Oh, hold on to it, don’t let it go.”

My mind is full of splendid memories of Africa that I can revive and look at whenever I want. How about those sunsets, gold and purple and orange, spreading across the sky at evening? How about butterflies and moths and bees on the aromatic bushes of the Kalahari? Or, sitting on the pale grassy banks of the Zambesi, the water dark and glossy, with all the birds of Africa darting about? Yes, elephants, giraffes, lions and the rest, there were plenty of those, but how about the sky at night, still unpolluted, black and wonderful, full of restless stars?

There are other memories too. A young African man, 18 perhaps, in tears, standing in what he hopes will be his “library”. A visiting American, seeing that his library had no books, had sent a crate of them. The young man had taken each one out, reverently, and wrapped them in plastic. “But,” we say, “these books were sent to be read, surely?” “No,” he replies, “they will get dirty, and where will I get any more?”

I have seen a teacher in a school where there were no textbooks, not even a chalk for the blackboard. He taught his class of six- to 18-year-olds by moving stones in the dust, chanting: “Two times two is … ” and so on. I have seen a girl – perhaps not more than 20, also lacking textbooks, exercise books, biros – teach the ABC by scratching the letters in the dirt with a stick, while the sun beat down and the dust swirled.

I would like you to imagine yourselves somewhere in Southern Africa, standing in an Indian store, in a poor area, in a time of bad drought. There is a line of people, mostly women, with every kind of container for water. This store gets a bowser of precious water every afternoon from the town, and here the people wait.

The Indian is standing with the heels of his hands pressed down on the counter, and he is watching a black woman, who is bending over a wadge of paper that looks as if it has been torn out of a book. She is reading Anna Karenina. She is reading slowly, mouthing the words. It looks a difficult book. This is a young woman with two little children clutching at her legs. She is pregnant. The Indian is distressed, because the young woman’s headscarf, which should be white, is yellow with dust. Dust lies between her breasts and on her arms. This man is distressed because of the lines of people, all thirsty, but he doesn’t have enough water for them. He is angry because he knows there are people dying out there, beyond the dust clouds.

This man is curious. He says to the young woman: “What are you reading?”

“It is about Russia,” says the girl.

“Do you know where Russia is?” He hardly knows himself.

The young woman looks straight at him, full of dignity, though her eyes are red from dust. “I was best in the class. My teacher said I was best.”

The young woman resumes her reading: she wants to get to the end of the paragraph.

The Indian looks at the two little children and reaches for some Fanta, but the mother says: “Fanta makes them thirsty.”

The Indian knows he shouldn’t do this, but he reaches down to a great plastic container beside him, behind the counter, and pours out two plastic mugs of water, which he hands to the children. He watches while the girl looks at her children drinking, her mouth moving. He gives her a mug of water. It hurts him to see her drinking it, so painfully thirsty is she.

Now she hands over to him a plastic water container, which he fills. The young woman and the children watch him closely so that he doesn’t spill any.

She is bending again over the book. She reads slowly but the paragraph fascinates her and she reads it again.

“Varenka, with her white kerchief over her black hair, surrounded by the children and gaily and good-humouredly busy with them, and at the same time visibly excited at the possibility of an offer of marriage from a man she cared for, Varenka looked very attractive. Koznyshev walked by her side and kept casting admiring glances at her. Looking at her, he recalled all the delightful things he had heard from her lips, all the good he knew about her, and became more and more conscious that the feeling he had for her was something rare, something he had felt but once before, long, long ago, in his early youth. The joy of being near her increased step by step, and at last reached such a point that, as he put a huge birch mushroom with a slender stalk and up-curling top into her basket, he looked into her eyes and, noting the flush of glad and frightened agitation that suffused her face, he was confused himself, and in silence gave her a smile that said too much.”

This lump of print is lying on the counter, together with some old copies of magazines, some pages of newspapers, girls in bikinis.

It is time for her to leave the haven of the Indian store, and set off back along the four miles to her village. Outside, the lines of waiting women clamour and complain. But still the Indian lingers. He knows what it will cost this girl, going back home with the two clinging children. He would give her the piece of prose that so fascinates her, but he cannot really believe this splinter of a girl with her great belly can really understand it.

Why is perhaps a third of Anna Karenina stuck here on this counter in a remote Indian store? It is like this.

A certain high official, United Nations, as it happens, bought a copy of this novel in the bookshop when he set out on his journeys to cross several oceans and seas. On the plane, settled in his business-class seat, he tore the book into three parts. He looked around at his fellow passengers as he did this, knowing he would see looks of shock, curiosity, but some of amusement. When he was settled, his seatbelt tight, he said aloud to whomever could hear: “I always do this when I’ve a long trip. You don’t want to have to hold up some heavy great book.” The novel was a paperback, but, true, it is a long book. This man was used to people listening when he spoke. When people looked his way, curiously or not, he confided in them. “No, it is really the only way to travel.”

When he reached the end of a section of the book, he called the airhostess, and sent it back to his secretary, who was travelling in the cheaper seats. This caused much interest, condemnation, certainly curiosity, every time a section of the great Russian novel arrived, mutilated, but readable, in the back part of the plane.

Meanwhile, down in the Indian store, the young woman is holding on to the counter, her little children clinging to her skirts. She wears jeans, since she is a modern woman, but over them she has put on the heavy woollen skirt, part of traditional garb of her people: her children can easily cling on to it, the thick folds.

She sends a thankful look at the Indian, who she knows likes her and is sorry for her, and she steps out into the blowing clouds. The children have gone past crying, and their throats are full of dust anyway.

This is hard, oh yes, it is hard, this stepping, one foot after another, through the dust that lays in soft deceiving mounds under her feet. Hard, hard – but she is used to hardship, is she not? Her mind is on the story she has been reading. She is thinking: “She is just like me, in her white headscarf, and she is looking after children, too. I could be her, that Russian girl. And the man there, he loves her and will ask her to marry him. (She has not finished more than that one paragraph). Yes, and a man will come for me, and take me away from all this, take me and the children, yes, he will love me and look after me.”

She thinks. My teacher said there was a library there, bigger than the supermarket, a big building, and it is full of books. The young woman is smiling as she moves on, the dust blowing in her face. I am clever, she thinks. Teacher said I am clever. The cleverest in the school. My children will be clever, like me. I will take them to the library, the place full of books, and they will go to school, and they will be teachers – my teacher told me I could be a teacher. They will live far from here, earning money. They will live near the big library and enjoy a good life.

You may ask how that piece of the Russian novel ever ended up on that counter in the Indian store?

It would make a pretty story. Perhaps someone will tell it.

On goes that poor girl, held upright by thoughts of the water she would give her children once home, and drink a little herself. On she goes, through the dreaded dusts of an African drought.

We are a jaded lot, we in our world – our threatened world. We are good for irony and even cynicism. Some words and ideas we hardly use, so worn out have they become. But we may want to restore some words that have lost their potency.

We have a treasure-house of literature, going back to the Egyptians, the Greeks, the Romans. It is all there, this wealth of literature, to be discovered again and again by whoever is lucky enough to come up on it. Suppose it did not exist. How impoverished, how empty we would be.

We have a bequest of stories, tales from the old storytellers, some of whose names we know, but some not. The storytellers go back and back, to a clearing in the forest where a great fire burns, and the old shamans dance and sing, for our heritage of stories began in fire, magic, the spirit world. And that is where it is held, today.

Ask any modern storyteller and they will say there is always a moment when they are touched with fire, with what we like to call inspiration, and this goes back and back to the beginning of our race, to fire and ice and the great winds that shaped us and our world.

The storyteller is deep inside everyone of us. The story-maker is always with us. Let us suppose our world is attacked by war, by the horrors that we all of us easily imagine. Let us suppose floods wash through our cities, the seas rise . . . but the storyteller will be there, for it is our imaginations which shape us, keep us, create us – for good and for ill. It is our stories that will recreate us, when we are torn, hurt, even destroyed. It is the storyteller, the dream-maker, the myth-maker, that is our phoenix, that represents us at our best, and at our most creative.

That poor girl trudging through the dust, dreaming of an education for her children, do we think that we are better than she is – we, stuffed full of food, our cupboards full of clothes, stifling in our superfluities?

I think it is that girl and the women who were talking about books and an education when they had not eaten for three days, that may yet define us.

© The Nobel Foundation 2007

Doris Lessing’s Nobel Prize For Literature Acceptance Speech is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?

If you watch the old series carefully, you’ll see that while they are zooming around in space, there’s an old military idiom that has followed them out into space:

The job isn’t finished until the paperwork is done.

It’s just funny to see James T. Kirk save the frickin’ universe and then have some Ensign or Yeoman walk up to him with a clipboard and a pen and have him sign something.

“40 Photon Torpedoes used? Sign right here please.”
“Acknowledge receipt of one used Romulan Warbird? Sign here please.”
“One Class A Shuttlecraft, crashed on planet, Class M? Sign here please.”

You have all that spiffy technology, but yet, you gotta sign stuff, write stuff, do paperwork.

Now, in the Next Generation, I didn’t see that so much.
They were always jabbering to the computer, at the computer, having the computer record their log, having the computer cook their food, or Earl Grey tea.

Kirk had to wield the pen.
Old school Trek.
Old school technology.

Now I love technology, but I love the tactile feel of writing.
One of my favorite writing tools is a disposable fountain pen. I mean, I really, really love those things.
Because you can only order them online, I usually order 10 at a time so I always have one available, no matter where I am.

If only there were a way to combine groovy technology with the tactile and comforting feel of a pen.

Well, Ramona, your prayers are answered!

How about a pen you can write with on any paper?
How about if that pen transmits, via USB, your writing to your computer?
How about if your computer then transcribes and translates your handwriting into text?
How about if it only costs about $80?

Let me introduce you to the EPOS Digital Pen and Flash Drive.

Here’s the Engadget article that first turned me on to this little doodad.

Now that is groovy.

Of course, you still have to make your own tea and account for your own crashed shuttlecraft, but still – it’s a step in the right direction.

Writing Like Captain Kirk is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?

That shit is scary.

Scary enough to possibly paralyze you. Stop you from writing altogether. You put off writing, because you feel that fear, that anxiety, that overwhelming sense of dread and being scared of making a mistake.

You want it to be perfect.

But what you don’t realize is that your strength is in your imperfection.
Your choices are uniquely you.
Your mistakes are there to let others see into your heart.

The Japanese have a term for it; it’s called wabi-sabi.

Don’t you realize that if anyone else wrote your book or your poem or screenplay or took that photo, that it would be completely different? Every element that exists in that creation is a part of the creator.

If someone else took Denton and Monty and their supporting cast, and an outline of “Resurrection Angel” or “Everlasting Life”, they would write a completely different book.

Those two books, and the ones that follow are uniquely William Mize. Uniquely me.
It is the mirror that I have chosen to be reflected in.
Each word, each sentence, is me, revealing myself to you.
Part of me is in Denton, part of me is in Monty, part of me is in every character, every hero, every villain that I create.

People who know me intimately like to think that they can point to a sentence, a snip of dialogue, an action or habit or quirk, and say “That’s you!”

They are right and they are wrong.

Perhaps I’ve said something in the past, during conversation, that finds its way into a book, but for the most part, it’s like hanging a watercolor in a torrential downpour. The colors soon begin to meld, the lines become less distinct between truth and fiction, between fantasy and reality, between life and art.

Please don’t let this fear stop you from writing.
Please don’t hold back.
Please don’t hide.

Reveal yourself.
Reveal your beauty.
Reveal your dark side.

These are all a part of the magnificent equation that is you, the creator, the artist.
These are the parts that we, as readers, as viewers, want to see.

Begin.
But begin small.

Perhaps it’s not the fear of revealing, the fear of intimacy that scares you.
Perhaps it’s the size of the project that scares you.
It’s too big.
It’s too overwhelming.
It’s too complex.
It’s too much.

It’s not.
Or, rather it doesn’t have to be.

You can start with one sentence, and turn that one sentence into a magnificent piece of work.

Author Randy Ingermason has what he calls his ’snowflake method’ of plotting and planning a novel. He shows you how to start with that one sentence, that one brick, and shows you how to place another brick beside it, another sentence after it, to make a magnificent creation.

I encourage you to read it, print it, give it a try.

Start small.
Feel safe, feel secure.
Write one sentence.
Then another.

Allow the work to become you, allow the work to reflect you.
Allow the creator and the creation to become one.

Like Moby says, we are all made of stars.

Information Overload and A Pretty Little Snowflake is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?

How A Novelist Gets Marvelous Ideas
I once chatted with a wonderful novelist in Calcutta who told me that the secret of her success in writing was due to the fact that she regularly and systematically claimed that God was guiding her in all her ways and that she would astonish the world with the beauties, glories and gems of wisdom given to her by the God within her.
Her favorite prayer was: “God knows all things. God is my Higher Self, the Spirit in me. God is writing a novel through me. He is giving me the themes, the characters and their names, and the locations and setting. He reveals the ideal drama in perfect sequence. I give thanks for the answer which is know is coming, and I go off to sleep with the word ‘novel’ on my lips, until I am lost in the deep of sleep.”
This novelist knew that the word ‘novel’ would be etched on her subconscious mind and that the latter would respond. She said that usually, after praying this way prior to writing a novel, a few days later she would get the inner urge to write, and the words and scenes would flow in an unending stream.
This is representative of the miracle of Divine Guidance which is available to us all.

Now I’m sure that some of you are thinking “How wonderful” and the rest are calling out “bullshit”. And that’s fine.
But from personal experience, I know that this method absolutely works. The words may be different, but I use a similar version each night before I go to bed, depending on what project I am working on (short story, Denton and Monty novel, poem, screenplay) and what specifically I wish to accomplish the next day (plot 5 chapters, 3 poems, 10 pages of script, 3 chapters of the novel).
When I ‘program my computer’ – give a command to my subconscious mind – pray to God – whatever you may call it, I have yet to encounter any writers block. It has never failed to work. When I sit down at my desk, my computer the next day, the words flow freely, the ideas come naturally and organically.
There’s never any stressing out, never any forcing, never any anxiety.

Perhaps it is the placebo effect. Perhaps there is no “God”. Perhaps it’s all in the firing of neural patterns in my brain. I have no idea. The truth is, no one really knows.

But sometimes in life, you don’t need to know how something works, you just need to know that it does work; and if this tool allows me to share my writing gift with the world, and gives me the joy and satisfaction of being able to write freely and without any stress or angst, then I’m all for it.

What do you think would happen if, every night, right before you turn out the bedside light, you took a few minutes and closed your eyes. Relaxed and said a similar statement? What if you asked for help with a problem? Asked for help with your writing?

Could it change your life?
Maybe it could.
Why not give it 30 days and find out?

Joseph Murphy on Writing A Novel is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?

Faith In The Invisible
Paul said, “Faith is the substance of things hoped for, the evidence of things not seen.” (Hebrews 11:1)
All great scientists, mystics, poets, artists, and inventors are gifted and possessed by an abiding faith and trust in the invisible powers within. The scientists and inventors have faith in the possibility of the execution of “the idea”. The idea of a radio – though invisible – was real in the mind of the inventor; the idea of an automobile was real in the mind of Henry Ford; the idea of a new structure is real in the mind of the architect. The idea of this book exists in my mind, and all pages are coming forth from the invisible ideas, thoughts, imagery, and beliefs which inhabit my mind.
You must appreciate the fact that your desire, idea, dream, new play, book, script, trip, enterprise or adventure are all real in your mind, though invisible. To know that your idea is real, that is has form, shape, and substance on the mental plane, and that is is as real as your hand on the objective plane, gives you scientific faith and enables you to walk over the waters of confusion, strife, and fear to a place of conviction deep in your subconscious mind. Whatever is conveyed to your subconscious is projected on the screen of space. This is the way your ideas are objectified.

This is the true definition of a creator – to make the invisible visible. To bring that which has been only an idea, a thought, into the physical realm.
You have an idea about a poem. You sit down, you pick up the pen, pencil, open the word processing file, and you write the poem down.
You take action to manifest the invisible.
To me, Murphy, who wrote the above statement decades ago, has hit upon the missing step that “The Secret” leaves out.
Action.
Take action.
You can’t just wish for a bestselling book. You must take the actions necessary – writing, selling, marketing – to make it a bestseller.
You can’t just wish for a million dollars. You must become the kind of person who can come up with the product or idea that will earn you a million dollars.
As I’ve said before, the universe does not give us an idea, dream or a goal without also giving us the power, the inspiration and the knowledge to make it so.

I wish that all your dreams may come true, and that you realize just how powerful you are, and have faith in your ability to make them come true.

Joseph Murphy on Making The Invisible Visible is a post from: William Mize. All content © William F. Mize. Why not follow me on Twitter or Facebook?