Travel Diary: Day #3 (L.A., San Francisco, Mountain View)
Well, I walked into that one. In theory, I should get seven
hours
sleep after my L.A. reading and be refreshed and ready for the big day
ahead.
But instead, I write my blog entry until two in the morning, then lie
in bed thinking about how cool my day was. When my alarm goes
off at 7 a.m., I’ve slept for about three hours, and that in
roughly half-hour blocks.
I feel so seedy that I think I’m going to lose my lunch, and a radio station is due to call me in a few minutes for an interview. I think seriously about what I should do if I’m halfway through an answer and suddenly need to barf. My idea is to say, “And another thing, Carl—” then hang up. Hopefully everyone will think there’s been a technical difficulty.
Luckily, this doesn’t prove necessary. But it’s not my best interview; sometimes even I can’t work out what I’m trying to say.
LAX Airport has clearly put a lot of thought into how to best design seats that are impossible to sleep in. But I’m so exhausted I manage to grab 20 minutes sleep by jamming my head against a pillar. I sleep some more on the plane, but I’m on the aisle and get woken by a woman who can’t last the 80-minute flight without using the bathroom. Damn her tiny bladder!
In San Francisco I meet Frank, my media guide. Frank, I learn over the course of the day, has done everything. I’m serious. He’s written a series of bestselling novels, he’s lived all over the world, he’s in a rap band, he’s writing screenplays, he’s developing video game ideas—there is no topic of conversation that doesn’t prompt some amazing revelation from Frank. He makes me wonder what I’ve been doing with my life.
Frank also puts very little store in the opinions of other drivers, even for a media escort. We spend most of the day visiting a series of bookstores and radio stations to a steady background of tooting horns and people yelling, “Asshole!”
I get a couple hours’ downtime at the hotel, where I lie in bed and try not to think about the fact that soon a few dozen people will be staring at me. I still feel a little queasy, and all I’ve eaten all day is a muffin and a few pretzels. But I do get a little sleep, and on the drive to Mountain View for my reading, the adrenalin kicks in. The closer we get, the more awake and ready for action I feel.
It looks like being another big crowd, and Books Inc have to break out extra seats. Then even these run out! It’s standing room only again.
I decide to go to the bathroom before we start, only to discover that it is directly behind the podium. This means that the assembled crowd gets to watch me fumble with the men’s room door key. When I come out again it’s too weird to not say anything, so I announce, “Yes! Here at Books Inc you get to watch authors go pee-pee!”
Then we get started, and it’s a blast. There are fewer people here than in L.A., but they’re very vocal. And they end up buying every copy of Company in the store, which is something like 100 books. They also take all the Syrups and all but two of the Jennifer Governments. It’s incredible.
I love chatting to people while I sign their books, but I feel bad that there’s such a long line, because some people are waiting for up to 90 minutes. I just want to talk to everybody. It’s such a thrill to hear how people found and enjoyed something I wrote; I could do that all night.
I also get to meet Ellis! He is exactly as cool as I always suspected.
I get back to the hotel at midnight. Then there’s the moment I’ve been dreading: I request a wakeup call for 3:50 a.m. Yes, that’s when I have to wake up in order to make my flight to Seattle tomorrow morning. Even I cannot really believe it.
Now I’m hungry, so I tuck into a banana cake that one of my readers baked for me and gave me at the reading. (Oh yes she did.) The bookstore people seemed a little unsure about this, perhaps wondering about the legal ramifications of having an author killed by poison attack on their watch, but it smells pretty good to me. I call Jen and tell her about my latest amazing event in between wolfing down big chunks of banana cake. She’s almost as thrilled as I am. Jen was with me when I visited San Francisco on book tour in 1999 and no-one showed up, so she knows what this means to me.
Fin is awake so I get to listen to her blowing bubbles. So sweet. In Australia, it’s her 5-month birthday.
I’m very tempted to fire up the laptop and write the day’s diary entry, even though I’m already looking at my second straight night of three hours’ sleep. But that would be insane. I come to my senses and instead hit the sack. I continue a newly-established tradition: I turn out all the lights and use my camera’s tiny LCD screen to play a 30-second video of Jen & Fin that I recorded before I left. Jen is holding Fin and Fin is looking sleepy at first and then snuggly and then she does a little smile and they are both utterly, unspeakably beautiful.
Travel Diary: Day #2 (L.A.)
I may be the only author in history to get more sleep on a book tour than usual. I get eight hours overnight, although when I wake at 7:30 a.m. my brain doesn’t seem to be working. For example, I look at a pair of tweezers in my bag and think, “Oh my God, I have tweezers, those are banned here!” I am confusing the United States with United Airlines.
I check my email and web site and am pleased to see no comments of the nature I feared, i.e. “Who gives a crap what you do all day? Spare us this rambling bullshit.” Excellent! So here’s some more.
After reading a funny and eerily appropriate Dilbert, I am driven by Jeff, my media escort, to a radio interview with “Marketplace Morning” on NPR. The host, Lisa, is kind and gentle and helps me get through it pretty well. This is the kind of interview where I talk for 10 minutes and they edit it down to three, which I love because it makes it sound as if I’m just constantly coming out with smart things to say. I wish my whole life was like that.
Jeff takes me past some classic L.A. monuments: the Disney Concert Center (giant metal flower, very cool), some cathedral with a carved door (not really sure what the fuss is about), and a playground with police tape all around it. Although that last one is not intentional. Jeff is a cool guy and we chat about all kinds of things, from the aggressiveness of Tasmanian Devils to David Hasselhoff. That is, the conversation ranges between those two topics. I don’t mean that Tasmanian Devils are aggressive to David Hasselhoff. Although could you blame them? I’m telling Jeff that David Hasselhoff is experiencing a bizarre resurgence in popularity in Australia, and Jeff mentions—just happens to mention—that he, Jeff, was in “Knight Rider.” Knight Rider! The coolest TV show of the 1980s! This is why I love L.A.; everyone has a filmography. Suddenly the car we’re driving doesn’t seem so great any more. I want Jeff to drive me in Kitt.
The next five hours are a series of drop-ins, where I turn up at a bookstore and say, “Hi, I’m an author, can I sign my own book?” They put AUTOGRAPHED COPY stickers on them. This can go either way: either the bookstore people are quite pleased to meet me and ask questions about how my tour is going, or, as in one store, the girl behind the counter is so utterly unimpressed that when Jeff says I’m an author, she doesn’t even bother to look up from her computer. But word from the stores is that early sales are quite strong—one has sold out all eight copies already—and that’s great news.
As we inch along freeways, it occurs to me that L.A.’s main industry isn’t film: it’s parking. Seriously, the amount of thought, money, and effort everybody puts into parking here, I can’t believe it’s not a billion-dollar industry. I also think L.A. needs some kind of mechanized freeway system, where as you approach an on-ramp, metal claws grab your car’s undercarriage and slot you into a perfectly-measured space on a conveyor-belt-like freeway. Then everyone gets hauled along at 90 miles per hour until you want to get off, at which point the machine spits you out an off-ramp and you regain control over your car. It’s good to know that if this novels thing doesn’t work out, I can fall back on urban planning.
For lunch I have a beef burrito at Farmer’s Market. I’m not very familiar with burritos, but from my observations they seem to bear a fairly loose relationship to beef. It seems more like a “beef” burrito than a beef burrito, if you get my drift.
The burrito goes down okay, but fights back when I drop in to see Brian, my film agent. I have to try to contain alarming burrito burps as I’m escorted through the hallowed halls of CAA, the world’s most feared talent agency. The thing that really amazes me about CAA is that it’s full of hot 20-year olds. Every assistant or secretary in the building is 20 and incredibly good-looking. I swear, the last time I visited, Brian’s assistant was so beautiful that I went temporarily blind. Now he has a guy, Alex, and look, I don’t want to get all Brokeback Mountain on you, but slap a cowboy hat on us both and who knows what could happen. But anyway, yes, barely pubescent assistants everywhere. There must be a giant incinerator out back where they throw them on their 25th birthday.
Brian has good news about both Jennifer Government and Company! Things seem to be developing on both counts. There has been a holdup with the Jennifer Government script development, but Section 8 is still very keen on the material and there could be an opportunity for me to get more involved.
On the way back to the hotel, Jeff says, “There goes James Woods,” but by the time I turn around all I’m looking at is his car’s tail lights. Still, a brush with celebrity! I make a mental note to bring this up later, to impress friends.
At the hotel I am stunned at how clean my room is. I left the place looking like downtown Baghdad and now it’s immaculate. All the crap I had strewn from one end of the bathroom bench top to the other is now arranged in a neat 3x4 grid. I’m so impressed I take a photo. They’ve also somehow lugged the giant table that I practically had a hernia moving over to the LAN port back to its original position. Those maids may look small, but boy, I’m sure not going to mess with them.
I practice the section I’ve chosen to read tonight, then Jeff picks me up to take me to BookSoup. I’m amazed: the place is already almost full. And people just keep coming in. By the time we start, it’s standing room only. Soon people are having trouble even getting into the store.
The event is simply awesome. BookSoup has donuts for everybody, it’s packed out, I’m excited, and everyone laughs in the right places. At the end, a huge line forms and I’m signing books for the next hour. I’m flabbergasted; the last time I was here about 15 people showed up. People have driven in from as far away as Las Vegas, and many of them want photos with me, as if I’m a rock star. What I’m feeling is part amazement and part pathetic gratitude.
As if this wasn’t already one of the best days of my life, the Fortress guys come over and say they adore my Syrup script. I mean, they rave about it. They were only lukewarm on the first draft, so this is a huge, unexpected thrill. We go out for drinks and they talk about all the people they want to take the script to and I have a sudden moment when I realize where I am and what I’m doing and it’s so absurd I could laugh. I am having a ridiculously good day.
I get home at midnight and immediately call Jen. She’s thrilled, and hearing her voice makes the day complete.
I should sleep—tomorrow’s a very busy day that starts early—but I want to get this written down tonight. Thanks so much to everyone today. Wow. Thank you. Wow.
Travel Diary: Day #1 (Melbourne, L.A.)
“Going anywhere exotic?” says the guy in the blue shirt. I’m startled because I have big weepy eyes and tear-stained cheeks and surely nobody talks to someone who looks like that. Yeah, so I’m a marshmallow. I’ve just said good-bye to my wife and baby girl and all I can think about is the way Fin’s little fingers curled around mine as she lay in her car seat. I haven’t spent single a day apart from her since she was born in August, and now I’ll be out of her life for eleven of them.
“L.A.,” I say. I’m leaving it up to him to judge whether L.A. is exotic. Under normal circumstances I’d grant that, but since we’re standing in line to check-in for a flight to… yes, Los Angeles, it’s kind of a weird question.
But talking to Blue Shirt makes me feel better. So does going through Australian Customs, because they’ve opened some barriers to allow you to short-circuit the enormous queue maze, only some passengers haven’t noticed, and they’re going back and forth, back and forth. This is amusing to watch.
In line I observe that the outgoing declaration form has a big notice saying “MAKE SURE TO COMPLETE BOTH SIDES OF THIS FORM,” but only on the back. I wonder how big a problem that can really be, people filling out just the backs of forms.
I have more than an hour to kill before departure, so I browse through the airport bookstore. A couple wander past me, talking in French. They sound very cool until the woman says, “<francais francais francais> Da Vinci Code.”
I buy an amusing-looking book called HOW TO RULE THE WORLD, even though I already have three books in my bag and know I will collect more on tour. In ten days I will probably be trying to figure out how to get my excess baggage home. At the bookstore counter I see the new John Grisham paperback; it’s called THE BROKER and the tag line is: “He broke the rules, now he must pay the price.” The Broker: he broke things? Worst. Tagline. Ever.
After an hour waiting by the gate, the Captain wanders out and declares that they can’t start one of the engines, so we won’t be going anywhere for a while. Seriously. We all take him at his word because he’s wearing a natty uniform. The Captain tells us how they’re going to steal a part from another plane to get us in the air, and the plane we steal from will get a part from a plane in Sydney, and… eventually, I guess, all the planes will be in the air except for one, and its Captain will be shaking his fist and swearing. Anyway, apparently this part can be fitted to our plane within the hour. One of the passengers says, “Take your time!” This gets a laugh, so he says it again, louder. Then he sits down, to, I hope, think long and hard about what he’s done.
An hour passes. I feel tired and bored. An announcement informs us that the part has been fitted, but now the plane is too hot from sitting out in the sun, so there will be a delay while they run the air conditioning. This strikes me as the kind of thing that could have been done simultaneously with fitting the engine part, but of course I’m not an aeronautical engineer.
A guy sitting in my eye line is wearing one of those inflatable pillows. Look, okay, if you’re on a plane, I guess the extra comfort is worth looking that stupid. But we’re still at the gate. He’s wearing an inflatable pillow at the gate.
It’s not a good sign that I’m this irritable this early.
We get underway two hours late. There are babies all around me, but for some reason I find them calming. I like that I can predict that the baby that’s making little crow-like caws in the back of his throat is about to go to sleep, and sure enough, he does. When the babies are happy I wish I’d brought Jen and Fin with me and when the babies scream I’m glad I didn’t.
We hit turbulence early, which puts most of the kids to sleep. It goes away, then comes back, and gets steadily worse for the rest of the flight. By the time we start our descent into LA I feel like I’ve just spent 14 hours on a carnival ride. The Captain says it’s the bumpiest ride he can remember in 30 years of flying. I feel a little pride at being there for the record, also nausea.
I’m nervous at US Customs. I always am, ever since a Customs Officer threatened to bar me from the country in 1999. When I told him I was coming over to do a book tour, he said, “I hear money.” I said, “What?” Again: “I hear money.” He just kept saying it. Eventually I worked out that he didn’t want a bribe but rather thought I was coming here to work—to earn a salary—and I was so relieved I laughed. This was probably a mistake. Because even though I explained quite clearly that nobody pays authors to do bookstore readings, he refused to believe me. Eventually—long after every other passenger had left and it was just me, Jen, and Customs Officers looking like they were just waiting for an excuse to probe something—he said, “I’ll pretend I didn’t hear anything about any book tour.”
Every trip since then it’s been no problem. This time is no exception, although the new US-VISIT program is running, which means I get fingerprinted (left index finger on the pad, sir, now your right), and photographed by a bulbous and somehow evil-looking little webcam. I think this is the first time I’ve ever been fingerprinted. It feels strange. What are they going to do with my fingerprints? Wait until I commit a terrorist atrocity, then make sure I’m not allowed back in? I don’t like that I can think of plenty of things to do with a giant fingerprint database if you’re a government wanting to increase your power, but not many if you just want to prevent terrorism.
It’s 10:30 Tuesday morning. This time today, I was checking in at Melbourne Airport. That’s thanks to the time difference. Yikes. For me, today is 43 hours long.
I catch a cab to my hotel and mess up the tipping. That is, I do the cab driver okay (I think: a little over 15%) but the doorman rushes my bag inside and I don’t tip him straight away because I think he’s going to take it all the way to my room, but then he disappears after depositing it at the check-in counter. Tipping is a nightmare for Australians: we don’t do it at home and don’t know how to do it abroad. It’s a cultural thing: to us, it’s insulting to offer someone such a small amount of money. I know, I know: for many service workers it adds up. But still, when I give someone a tip of a dollar or two I expect them to say, “Well, gee!! Thanks a lot, Mr. Big Spender! Think I’ll buy me a stick of gum!”
First thing I do after check-in is walk down the street and buy a phone card, so I can call home for less than $9 per minute. The second thing I do is call home. It’s 7 a.m., which usually means that Fin is waking up, and luckily her timing today is immaculate. I talk to Jen and then she puts me on speaker. I am informed that Fin is chewing on the phone while I’m talking to her, which I believe because I can hear little slurping sounds. It’s wonderful; I can picture Jen and Fin exactly. For a second I can even smell Finlay. Heaven.
I grab a couple hours sleep, then am woken by a phone that I prove too stupid to answer. There are buttons everywhere, and they all seem to default to “Hang up on caller.” This must be what old people feel like. Eventually I manage to successfully answer a call: it’s Jeff, my media escort, confirming that he’s picking me up at 8:45am tomorrow. Media escorts are people hired by the publisher to drive authors around and make sure they don’t get too lost or frightened. They’re like professional mothers. Jeff says we have an interview to do, then we’ll “hit some bookstores, grab some lunch, mix it up a little, have some fun.” Whoa!
Today is a travel day: I have no other official duties. I go for a walk, buy a T-shirt, eat my first ever Butterfinger bar (not impressed, sad to say), and go over what I want to talk about at my reading tomorrow. For dinner I meet Todd, a guy I started corresponding with way back when Syrup was new. Todd used to tell me horrifying and engrossing stories about his love life and now tells me horrifying and engrossing stories about his attempts to establish himself as a director. It’s a tough call as to which are more frightening. I feel glad to be a writer.
Now it’s 10 p.m. and I’m ready for bed… after just one more phone call, to wish my girls good night.
The Block
I’d love to be a published author, but I never seem to finish any of my stories. I write about 20-60 pages and then just kinda let the story die, and it is not for lack of trying…I really would love to finish a story, but I feel my life gets in the way. Where do you get the energy, drive, and determination to write a full length novel?
I avoid handing out writing advice on this site, because it’s hard to do without sounding like the world’s biggest blowhard. But I get this question so often that I’m going to blow anyway. (Forgive me.)
Disclaimer: I don’t think there’s any advice that’s going to work for all writers. Everyone does this thing differently; you need to find what works for you. Don’t devoutly follow any rule about writing… except this one. And the one about always relocating a few copies of my book to the front displays any time you’re in a bookstore. Yeah. Just those two.
I guess the first thing to realize if you’re stuck a few chapters into a novel is that this happens a lot. It doesn’t mean you’re untalented or undisciplined or not cut out to be a writer. I started a novel in high school that I thought was brilliant in Chapter 1, okay by Chapter 4, and after that didn’t want to think about. It died a slow, lingering death on my hard drive, but because I knew it was there, waiting for me, I didn’t want to write at all. It was a couple more years before I resolved to leave it behind and start something new: that one clicked for me in a way the other never had, and I finished it.
So the important thing is not to let this one problem derail you from writing. Maybe you can fix this story and maybe you can’t; either way, you have to keep writing.
I think there are three reasons you can lose enthusiasm for a novel. Let’s start with the ugly one: it was a weak idea to begin with. Maybe your premise isn’t well-suited to a novel; maybe it’s better as a short story or screenplay. Maybe it needs another key idea or two to fill out the concept. Or maybe you just thought this was going to be better than it turned out. In any of these cases, it often won’t help to blindly forge ahead and hope everything gets better. So let the novel sit for a while. Start writing something else. It doesn’t matter what. You might end up coming back to this novel with new ideas and a ton of motivation, but if you don’t, let it be because you’ve moved on to something better.
The second possibility is that your story has good fundamentals but you took a wrong turn. This can happen any time, but is more unsettling at the start because you have less confidence. A trick I use when suddenly I go from powering along to a dead halt is to delete the last sentence. Even if I think there’s nothing wrong with it: backspace backspace backspace. For some reason, this almost always immediately presents me with an idea for a new way forward. Sometimes I have to delete a paragraph or two, or (very rarely) even a whole chapter. I don’t know why the physical act of cutting part of the story away helps—I should be smart enough to work this out by just thinking about it, shouldn’t I? But apparently I’m not, and it does.
(I don’t plan my novels out in advance. If you do, this technique is less likely to help you. I hate planning novels; I think they’re much more fun to write when they evolve on their own. I tried planning a novel once and it was dull, dull, dull. (No, it wasn’t one of my published ones. Shut up, you.))
The third possibility is you’re being too hard on yourself. For a lot of writers, getting critical too early—and “too early” here probably means “before you’ve finished the first draft”, or at least 30,000 words—is a quick and effective way to kill your motivation. I’m lucky on this score, because I am blessed with a kind of split author personality: I have the writer guy and the editor. The writer guy is totally deluded about his own ability: he thinks everything he writes is breathtakingly brilliant. Which is very handy, because when I think I’m working on God’s gift to the 21st Century, it’s easy to stay motivated. But unless I snap out of that at some point, all I have is a first draft, and that’s not nearly good enough. This is when my editor personality comes in. He thinks everything I write is the purest horse crap. He can’t believe that I would consider inflicting such a grotesque parody of literature on live human beings. So he makes me rewrite, and rewrite, and rewrite.
Getting those roles mixed up is a disaster. You don’t want a dose of cold, hard reality while you’re writing. No, no: delusion is your friend. Embrace the delusion. Save the critical analysis for later.
Okay. Enough blowing. Hope this helps someone.
Hand Me My Y-Chromosome
Apparently I write like a girl. Someone from the
Internet Writing
Workshop sent me a link to the
Gender Genie,
where you paste in a section of text and it uses an algorithm to detect
whether the author is male or female. Or, if you’re an author, you can
tell whether you’re really nailing your opposite-sex
characters. I mean, nailing their dialog. Portraying it accurately.
Okay. Better.
I was up for the challenge, so I pasted in a bunch of lines that belonged to 6, my main female character from Syrup. Bing! Female it was! So at this point I was feeling pretty clever. Then I tried a collection of Scat’s lines. Female. I tried that A Shade Less Perfect short story. Female. More short pieces: female, female, female.
But maybe that was just my fiction voice. Surely, I thought, my blogs would positively drip with manly essence. By which I mean machismo. But no: female, female—wait! Talking about basketball, the business of film options, and Mary-Kate Olsen’s stomach scored me my first “male”. My drive-by Todd Bunker blogging: also male. So too were finding interesting things to do while standing in the shower and comparing Linux to Microsoft Windows.
That was a relief. I’m at least partly in touch with my masculine side. I can live with that.
Ah, crap. I just tested this blog. Female.
Talk to me, baby
My
last blog
gave some people the idea that my life is all L.A. movie
premieres, shooting hoops with Adam Brody, and doing coke lines off
Mary-Kate Olsen’s bare stomach, but sadly it’s not. From
an author’s point of view, selling
film rights tends to be like this:
Agent: We’ve got a great offer from Legendary Director X!
Author: Oh, cool!
One Week Later.
Agent: Yeah, that didn’t come off.
Author: Oh, damn.
One Week Later.
Agent: We’ve got a great offer from Excellent Production
Company Y! Want to take it?
Author: Sure, okay!
Toni writes:
so did you sell all of the rights to Company over to Doubleday or do you get all of the rights? I’m curious about how this whole process works…..do you get a cut of the film profits?
While Nathan, more succinctly, says:
Paramount. Nice. You must be loaded now.
First I should point out that there is no Company movie deal yet; there’s just people talking. That may or may not lead to a deal, but even if it does, it’s unlikely I will be rolling around naked in hundred-dollar bills. Well, I might be, but there wouldn’t be that many of them. Movie rights deals are structured so that they have a front end and a back end. The front end is the money the film studio pays now, which buys them an exclusive period (usually a year or two) in which to develop the film. This is called an option, and the amount paid is relatively small. Exactly how relatively small depends on whether you are, say, Dan Brown, or, say, me.
The back end is the juicy part. This can include a percentage of profits, but mainly it’s just a great big wad of cash, about an order of magnitude larger than the front end, and payable when the film goes into production—that is, when the cameras start rolling. Many, many novels are optioned but never go into production, in which case the option lapses and the author is never paid the back end. (I haven’t seen one yet.) Some authors are more than happy with this, because they get to sell the film rights all over again. (Which has happened to me once.) But this is pretty anti-climactic. I want to snuggle into a soft red movie seat and chew popcorn while a story I once dreamed up is projected in 35mm. Then I’ll shoot some hoops with Adam Brody and go see Mary-Kate about that coke.