Tag Archives: ray bradbury

More Reading Material

Yeah, so I’m not very good at keeping up to date with this. Here are three more books that I’ve recently read and reviewed on Goodreads.com.

Weird Dinosaurs: The Strange New Fossils Challenging Everything We Thought We Knew by John Pickrell
Something dinosaur lovers might want to read, but to be honest I wasn’t overly impressed. Click on the title to read my review to see why.

Under God’s Big Sky by Shannon Heuston
I read this as part of an indie writers’ group. It’s a pretty good tale for a first novel by an indie writer. I want to say more on that general subject in my next blog post, but for now click the link above to see my review.

The Illustrated Man by Ray Bradbury
A classic collection of short stories by one of the masters of fiction. I reread this for the first time in many years and found it every bit as wonderful as I remembered it. Again, click the link to see my review, but more than that, read this book. You won’t regret it.

 

A Serious Influence

To the extent that I’ve been consciously influenced by any writer, it would be Ray Bradbury.

When did I first encounter Bradbury’s stories? I don’t exactly recall, but it was a long time ago. I read his short story “A Sound of Thunder” in either eighth or ninth grade. That was during my family’s brief stay in Sacramento, California, and is the earliest clear memory I have of his work.

Also about that time, my English class screened the 1963 TV documentary Ray Bradbury: The Story of a Writer, which in part follows the author through the development of a short story called “Dial Double Zero.” That story never appeared in print, but the documentary provides a solid glimpse of it through Bradbury’s musings, dramatic presentations of portions of the story, and his reading of the ending.

When I grow up as a writer, I’d like to be Bradbury. That thought has been stuck in my head for many, many years. Of course, in a literal sense it’s impossible. Authors have to find their own voices, their own styles. We each have a unique life, a unique set of experiences upon which we draw, so none of us writes exactly like anyone else.

But if I write even a third as well in my own way as Bradbury did in his, I could be pleased with the results. Sometimes I think I come close. Example: in October 2015 a story called “In the Butcher Shop” spilled out of me in a single hour. I suspect he might have given me a bit of help that day.

October, anyway, was his time of year…

The Umpteenth Draft

If you’ve ever written anything, including term papers for school, you know what a first draft is: a complete but unedited work. So what comes next? Well, you say, obviously editing. And you’re right. But what kind of editing?

Broadly speaking, the adventure starts with overall structure and gradually works its way down to typos. Although not always that neat, once a first draft is done it’s time to step back, draw a deep breath, and look at the big picture.

Ray Bradbury, in his mystery Death is a Lonely Business, summed up the process rather graphically. His lead character, a writer, develops a friendship with a local police chief. The police chief, it turns out, harbors literary ambitions, so the writer helps him get started. His key advice: “Throw up into your typewriter every morning. Clean up every noon.”

That’s worth remembering, if only to remind you how good your first draft likely is.

These days, few of us use typewriters. Via computer, it’s easy to edit as you go, and I regularly do that. Most days before writing anything new, I get a running start by rereading what I wrote the prior day and cleaning it up. By the time my so-called first draft is done, it’s already been edited substantially. Even so, it won’t be free of structural problems, substandard writing, or scads of typos. It remains a first draft in spirit, if not precisely in number.

Usually I crawl through a story at least three times before I’m happy with it, after which my wife tears it apart and makes me fix it up again, often contributing new material along the way.

These rewrites are not merely finding better words or fixing spelling errors. I rearrange material, throw out entire scenes and start them over, and add new scenes. I fix glaring continuity errors, plug up holes, and expand upon ideas.

To take one small example, in Ice on the Bay (my current work in progress) , I introduced a stack of boxes at the back of a room in which a murder had occurred. At the time, I didn’t have any plans for them. I didn’t even know what they contained. Nearing the end of the first draft, I realized that Eric Dumas, the principal investigator of the murder, never bothered to ask what was in them, much less look for himself. He should have. And once he did, it turned out to be important.

Completing the first draft may seem like a lot of work, but once it’s done, the real work begins. And until it’s done, one doesn’t have a story worth reading.