How to Succeed in Writing VII: Being Authentic versus Being Entertaining


The truth is more important than the truth in creative non-fiction. Readers can spot a truth even when they don’t know it. So, the truth is not only imporant, it’s so vital that the writer must know it better than any of the players involved if they hope to write about it. 

Being entertaining is far more important than being honest when writing fiction. That thesis has recently been challenged in a blog written by Diane McKinnon called Writing Authentically. In her blog, Ms. McKinnon suggests that: “It’s better to write it as authentically as possible, and decide not to share it, than to write a sanitized version of it and have it move no one, not even me.”[1] Ms. McKinnon writes that those who have read her “sanitized” versions have found something lacking. “The story’s good, but there’s no emotion in it,” one commenter said. “How did you feel? We want to know,” said another. [2] The insinuation that Ms. McKinnon leaves with these comments is that she wasn’t able to achieve an emotional truth in her piece without, first, writing the total truth of the matter in an original version. She writes that she would never publish the unvarnished truth, for she wouldn’t want to hurt those involved in the truth, but she felt the need to write the truth, so that she could get to the inner core of the matter, before eventually revising the truth out in the final, published, and sanitized version.

How does a fiction, non-fiction, or creative non-fiction writer avoid the truth, is a question I would ask her, even in a sanitized version? For those writers who’ve written for a substantial amount of time and mined their souls to a depth of truth, I don’t know how they avoid the truth. I know my truth, I would argue, and I probably know it better than those who experienced it with me. I feel it incumbent upon me to know the truth, and to study it from every possible angle I can think of, if I ever hope to embellish upon it properly, and I don’t think I need to first create an “authentic” version first to know it better.

My job as a writer, as I see it, is to take the experiences of my life that I’ve found entertaining, and combine them with a degree of creativity to create a fascinating story. As I’ve written in previous blogs, some of the best sentences I’ve ever read were written by the best liars, and for a liar to become a really good liar they have to know the truth. For a really good liar to become a writer they have to know the truth better than anyone else involved. The sentences will reveal if a liar is nothing more than an outrageous liar. We know this, we can read it, and some of us learn to adapt and evolve, until we become so intimate with the truth that we can embellish it and move onto an eventual fabricated story about it. For a liar to become a really good liar, we have to take the truth, combine it with a fabrication, and twist it around so that even those who shared the experience with us begin to question their memory of it. If the liar is going to achieve this optimum level of confusion and believability, they have to eventually reach a point where they twist the truth around so often, and so artfully, and with such conviction, that they accidentally convince themselves of the story about it. After doing this for a significant amount of time, the really good liar learns to channel that gift for lying into something that doesn’t cause embarrassing ramifications or harm to those affected by the lies. They learn that writers tell lies to lead others to true emotions, and a writer can not do that if it’s not true, or truer than true. 

The Lies Inherent in our Character 

When writers write characters we want to write the most entertaining characters that have ever graced an 8 X 11, but for these characters to achieve life-like qualities, we’ve learned that they can never stray so far away from their core that we feel lost within the characterization. Even when we write bad guys, we might achieve some literary distance, but if that character strays too far from our truth, we lose touch with him. That character may be based on that surprisingly uncaring friend we have who is capable of causing some people harm without conscience, and we might even take our characterization of him out to a limb that even he couldn’t contemplate, but for those characters to move us, and others, we need to explore their truth.

Larry David (Seinfeld and Curb Your Enthusiasm) states that the show Curb Your Enthusiasm is based upon experiences that have occurred in his life. The difference, says Mr. David, is that the character says and does things that the real Larry David wishes he could’ve said or done. Larry David is writing a character that is the complete opposite of him in these given situations, but that character still has a truth about him with which Larry can identify. He has his character do things that tick people off, he has him do things that are occasionally immoral and spiteful, but he also has this character do things that entertain him, and in doing so he may be saying more about his true character than the real life Larry David that couches his personality to be polite.

A writer who has written at any length, or with any measure of depth, knows the truth. They know the truth better than the truth, and they hope to capture it in the great sentences that are truer than true. I don’t know how a writer can avoid the truth even as they’re disassembling it and recreating it. If it loses its truth, it loses its soul. I don’t know how a writer can write a sanitized version of the truth without complete exploration of it. I don’t know how a writer can write a complete character, a decent setting, or a captivating conflict without exhaustive reflection of the way they see the world, or their truth, and I don’t think they have to write the truth to achieve it.

{1}https://rilaly.com/2012/05/10/how-to-succeed-in-writing-part-ii-the-search-for-the-great-story/

{2} http://nhwn.wordpress.com/2013/01/31/writing-authentically/

The Thief’s Mentality


The best thief I ever knew accused me of stealing, lying, and cheating so often that I began to question my integrity. A woman I dated cheated on me so often that I’m still embarrassed that I wasn’t more aware of her infidelities. Her octopus ink involved her accusing me of cheating on her, and she did it so often that I forgot to pay attention to what she was doing to me. If their goals were to prevent me from analyzing them, they did an excellent job because I spent most of my time defending myself around them. Some might call what they did projection, others might call it deflection or obfuscation, but I believe the games these people played fall under a comprehensive, multi-tiered umbrella I call the thief’s mentality.

Kurt Lee introduced me to the confusing mind of a deceptive person. The art of deception was such a key component of his personality that he thought he was able to spot transgressions gestating in the minds of those around us. In the manner a professional saxophone player spots nuances in the play of another, Kurt Lee spotted the intricacies of manipulation around him, and he did so from the same angle of admiration. Yet, he put so much effort and focus into tuning into their frequencies that his instincts often led him astray.

Kurt taught me more about deception than any other person I’ve encountered, movie I’ve watched, or book I’ve read on the subject. He would serve as my prototype for those who would exhibit a wide array of similar traits, traits I would only later deem the characteristics of the thief’s mentality.

The most interesting aspect about him, a characteristic that might defy that which I will describe throughout this piece, was his charm. When it served him, Kurt Lee could be the nicest, most engaging, and infectious person you’ve ever met. He was also a funny guy, and genuinely funny types have a way of disarming us, unless we stick around long enough to learn more about the games they play.

Those who knew Kurt Lee, on a superficial level, envied him for the ways in which he openly defied authority figures without guilt. Those who actually spent as much time around Kurt Lee as I did, however, witnessed that for all the charisma a piece of work (POS) displays, they ultimately end up destroying themselves from the inside out.

One afternoon while on a city bus, Kurt decided to play with the crocheted ball on top of the stocking cap of the elderly woman who sat in front of him. My role in this spectacle may be one of the things I have to answer for on Judgment Day, because I found his appalling act hysterical.

I was young, we both were, but I was so fascinated by this that I now ask myself why? I was learning and learning takes all shapes. We learn Geometry, History, and what to do and what not to do from our peers. We also learn answers to the question of why a young male, in the prime of his life, shouldn’t play with ball atop an old woman’s stocking cap. We learn the difference between a Kurt Lee and ourselves, and the answers are fascinating. Is it all about morality, I asked myself, or does it have more to do with common decency? My mother taught me that when a young, healthy male sees an elderly woman sitting alone, he should smile at her and try to think up something kind to say to brighten her day. My mother taught me to hold the door for her, and she said that I should consider it a privilege to give up my seat to that woman on the city bus, if no other seats were available.

Not only did Kurt Lee ignore those conventions, he chose to pursue the opposite. He chose to violate the sense of security of one of most vulnerable member of our culture by playing with the ball atop her stocking cap. It was wrong on so many levels, of course, but it was also a fascinating exploration of human nature. How would this old woman react? How would a real POS counter her reaction? Why did he do it in the first place? Did he think he would get away with it? Did he even care? I would never know the answer to the latter questions, because I didn’t know Kurt on that level, but my fascination with the answers to the former led me to urge him on with laughter. That was wrong, too, of course, but I now believe my laughter was borne of curiosity. I wanted to learn more about the moral codes by which we all abide. I hoped to learn all that by watching another solidify my rationale, with no regard for the consequences of violating them. My thinking was not that complex, at the time, but I couldn’t wait to see how this episode would end, and I dare say that most of those who are more successful in abiding by the standards our mothers taught us would not have been able to look away either.

The vulnerable, elderly woman eventually turned on Kurt, and she did so with an angry expression. She allowed the first few flicks of the ball atop her stocking cap go, presumably taking a moment to muster up the courage to tell him off, and then she gave him that angry look. Kurt Lee appeared ready to concede to that initial, nonverbal admonition, until he saw me laughing. Egged on by me, he did it three more times before she reached a point of absolute frustration that led her to say something along the lines of, “Stop it, you young punk!”

To that, Kurt began thrusting his hips forward in his seat, while looking at me, whispering, “She just wants unusual carnal relations!” As a teenager trying to elicit more laughter from another teen, Kurt Lee did not use that term. He selected the most vulgar term he could to describe his extrapolation of her desires.

***

Had Kurt Lee decided to stick his middle finger up in the face of a healthier, younger adult, it would have been just as difficult to avoid watching. The fact that he chose such a sacred cow of our culture for his rebellion, however, made his actions over-the-top hilarious. In my young, unformed mind, this was a real life equivalent to David Letterman’s man-on-the-street segments, taken up ten notches on the bold-o-meter. I would later learn that Kurt’s motivations did not involve making profound statements about our societal conventions. He just did things. He was a doer, and doers just do what they do and leave all of the messy interpretations of what they do to others. I would later learn, by watching Kurt Lee, that he selected his victims based on their inability to fight back. In this vein, Kurt Lee was something of a coward, but I couldn’t know the full scope of Kurt Lee at the time. At the time, I found his actions so bold that I couldn’t look away, and I couldn’t stop laughing.

I encountered a wide variety of thieves in the decades that followed Kurt Lee, but they paled in comparison to his mentality, his philosophy, and what drove him to be so different from everyone I had ever met. To listen to him speak on the topic, however, there was nothing different about Kurt Lee. He believed he simply had the courage of his convictions. He ascribed to the more conventional line of thought that we were all afraid to be like him, but he added that the rest of us have had this part of our makeup denied to us by our parents and teachers for so long that we now believe we are different. The import of his message was that this was not about me, and it was not about him. It’s about human nature and the thief’s mentality.

“If you could get away with it, you’d do it too,” was his answer to questions we posed. “You mean to tell me you’ve never stolen anythingEver? All right then, let’s talk about reality.” Kurt Lee was a thief, and like most thieves, he did not defend his position from the position of being a thief. He would substitute an exaggeration of your moral qualms regarding thievery, claiming that any person who has stolen even once is in no position to judge someone who steals on a regular basis.

In short bursts, and on topic, Kurt Lee could lower the most skilled debater to the ground. We called him a master debater, with the innuendo intended, because it was almost impossible to pin him down on specifics. It was a joy to watch. Prolonged exposure, however, opened up all these windows into his soul.

When we asked him how a guy from the sticks could afford the latest, top-of-the-line zipper pants, a pair of sunglasses that would put an employed fella back two weeks’ pay, and an original, signed copy of the Rolling Stones, Some Girls. He would tell us, but even his most ardent defender had a hard time believing Santa Claus would be that generous to even the nicest kids on his list.

Kurt Lee stole so often by the time I came to know him, the act of shoplifting lost much of its thrill. He decided to challenge himself in a manner top athletes, and top news anchors do, by hiring third-party analysts to scrutinize the minutiae of their performance. He asked me to watch him steal baseball cards from a baseball card shop owner that we agreed needed to learn a lesson, because the man refused to buy our cards 99 percent of the time. On those rare occasions when he agreed to buy them, his offers were so low they were almost insulting.

I posed a theory about our transactions with this shop owner. I theorized that the intent behind his frequent refusals to buy our cards was to establish his bona fides as a resident expert of value. That way, when he informed us that any of our cards were of value, we were ready to jump at the chance, no matter what amount he offered. “By doing so,” I concluded, “he actually makes us feel more valuable, because we think we finally have something worthy of one of his offers.”

“You’re right,” Kurt Lee said. “Let’s get him.”

I felt validated for coming up with a theory that Kurt Lee accepted, but in hindsight, I think Kurt Lee would’ve used anything I said to motivate me to conspire against the owner.

“One thing,” Kurt Lee said before we entered. “I don’t know if this needs to be said, but I’m going to say it anyway. Don’t watch me, don’t talk to me, and be careful about how often you look at me. Don’t try to avoid looking at me either.” When I laughed at that, a laugh that expressed some confusion, he added, “Just don’t do anything stupid or too obvious.”

I had reservations, of course, but I considered this an invitation into a world I never knew, and Kurt Lee’s provisos might have been necessary, because I was not only excited by Kurt’s invitation, I was just as nervous and scared. I was what a number of senior citizens called a good kid, and up until the moment I met Kurt Lee, I led a very sheltered existence. Before entering the baseball call shop, I considered the idea that my foreknowledge of this crime could implicate me as an accessory, but I couldn’t shake the asexual intimacy Kurt Lee was sharing with me, with this invitation into his world.

Standing near the door stop, Kurt Lee opened his pockets, in the manner a magician might, and he asked me to confirm that he had no cards in his pockets. I considered that an unusual act of bravado, but I didn’t stop to think about what it implied in the moment.

Throughout the course of our hour spent in the shop, I didn’t witness Kurt Lee steal one thing, and I mocked him for it. “What happened? I thought you were going to steal something,” I said as we stood outside the store. “I’m beginning to think you’re chicken.”

He allowed me to mock him without saying a word. When I finished, he opened his jacket to show me his inner pockets. What I saw knocked me back a couple steps. I actually took a step back when I witnessed the number of baseball cards that lined his inner pockets. I would’ve been impressed if he displayed one card, and three or four would’ve shocked me, but the sheer number of cards he stole without me noticing one act of thievery, led me to believe that Kurt Lee wasted his abilities on the petty act of shoplifting. I considered telling him to try his hand at being a magician for I thought what I just witnessed the skills of a maestro of deception. I was so shocked I couldn’t think of anything to say. If I could’ve managed words, I would’ve said something nerdy about how I thought Kurt should find a way to employ this skill in a marketable way. 

Soon after recovering from that shock, I began to wonder how one acquires such a deft hand. As with any acquired skill, there is some level of trial and error involved, and nestled within that lies the need to find a utility that permits the thief to proceed uninhibited by shame. A skilled performer in the arts or athletics delights in displaying their ability to the world, in other words, but a thief has to operate in the shadows, and they acquire their skill with a modicum of shame attached. Success as a thief, it would seem to those of us on the outside looking in, requires the potential thief to either defeat that sense of shame or find a way to manage it.

Shame, some argue, like other unpleasant emotions, becomes more manageable with greater familiarity. When a father introduces shame to his child, in the brutal assessments he makes regarding the value of his kid, the child becomes intimately familiar with shame before they are old enough to combat it. When such brutal assessments are then echoed by a mother’s concern that their child can’t do anything right, the combined effort can have a profound effect on a child. When those parents then console the child with a suggestion that while the child may be a bad seed, but they’re no worse than anyone else is, something gestates in the child. The moral relativism spawned from these interactions suggests that the search for the definitions of right and wrong is over, and the sooner the child accepts that, the more honest they will become. Seeing their mother scold a teacher for punishing their child for a transgression only clarifies this confusion a little more. In that relativist scolding, the child hears their mother inform the teacher that their child can do no wrong, and they see her unconditional support firsthand. Over time, the child must acknowledge that their parents will not always be there, so they will need to develop internal defense mechanisms in line with what they’re learned. The child also learns to accept these realities for what they are, for the Lee family has never had the courage necessary to commit suicide.

I hated discounting the level of individual ingenuity on Kurt Lee’s part, but he was simply too good at the various forms of deception for it to have been something he arrived at on his own. Attempting to source it might be a fool’s errand, but I wondered if I were able to sort through Kurt’s genealogical tree, if I might find sedimentary layers of grievance, envy, frustration, and desperation that worked their way down to him. To those who consider seeking evidence of foundational layers a bit of a stretch, I ask how much of our lives do we spend rebelling against, and acquiescing to parental influence, and how many of us can say we are entirely free from it?

Poker players tell me that everyone has what they call a tell, which is a twitch, a habit, or a characteristic that we cannot hide when we’re attempting to deceive. “It’s your job to find it during the game,” they say. I don’t doubt what they say. I’m sure we all have tells, and I probably have a ton of them, because I get nervous when I’m being deceitful. When I stole, I felt guilty, ashamed, and I had anxiety issues. What if I kept doing it? What if I had decades of experience? Would I get better at it, and would I find a mechanism to drain the shame of it all? Some in the field of neurology even suggest that research shows that our brains change when we lie more often. Does someone with a thief’s mentality hone the ability to manage emotions most of us normally experience with theft, lying, and cheating so well that it would take a maestro of deception to spot them in the poker game?  

I was so obsessed with this, at one point, that I accidentally stepped over the line between being curious and badgering, something Kurt Lee made apparent in his volatile reaction:

“You think you’re better than me?” Kurt Lee asked, employing the universal get-out-of-judgment free card of moral relativism. This time-honored redirect relies on the lessons taught to us by our mothers, that we are no better than anyone else is, but Kurt’s rant began to spiral out of control when he tried to pivot to what he believed its logical extension.

If no one is better than anyone else is and everyone resides on the cusp of whatever Kurt Lee was, the logical extension required the inclusion of an individual that many perceived to be so harmless it was almost laughable to suggest otherwise. The individual, in this case, was a kid named Pete Pestroni. If Kurt Lee’s arguments were going to hold water, the idea that Pete Pestroni was a wolf in sheep’s clothing would have to become an agreed upon fact. I’m still not sure why Kurt Lee went down the Pete Pestroni road so often, but I suspect it had something to do with the idea that if Pete was immune, in one form or another, everyone else had to be too. In Kurt’s estimation, Pete was just too weak, or too scared, to let his inner-wolf run wild. We would laugh at the implausibility of Pete Pestroni having a Kurt Lee trapped inside, a thief dying to come out, but our intention was to laugh with Kurt Lee. He wouldn’t even smile, however, because some part of him believed that if everyone was a thief, then no one was, at least to the point of separating the thief out for comparative analysis. This was a sacred chapter in Kurt Lee’s personal bible, and an ingredient of the thief’s mentality that took me decades to grasp completely.

The thief’s mentality is a mindset that involves a redirect of exposing an uncomfortable truth, or a hypocrisy, in others, so that the thief might escape a level of scrutiny that could lead to an uncomfortable level of introspection. An individual with a thief’s mentality may steal, but that person is just as apt to lie and cheat. The thief’s mentality begins as a coping mechanism for dealing with the character flaws that drive them to do what they do, but it progresses from those harmless, white lies to a form of deception that requires a generational foundation. 

The thief’s mentality requires deflection, by way of subterfuge, as a means to explain the carrier’s inability to trust beyond the point that they should be trusted, but some thieves’ outward distrust of others reaches a point of exaggeration that says far more about them than those they accuse. Their cynicism is their objectivity, and others’ faith in humanity is a subjective viewpoint, one that we must bear. We live in a dog-eat-dog, screw-or-be-screwed world in which those who trust anyone outside their own homes are naïve to the point of hopelessness. If the listener is to have any hope of surviving in such a world, it is incumbent upon them to see passed the façades and through the veneer, others present to the truth.

The truth, in Kurt Lee’s worldview, held that TV anchors with fourteen-inch parts, and perfect teeth, ended their days by going home to beat their wives. He didn’t believe that a person could attain wealth by honest means. He insisted that because some states convicted some Catholic priests as pedophiles that meant all Catholic priests were, and he had a particular fascination with infidelity in the White House. “You think JFK and Clinton are different? They’re just the ones that got caught is all.” There was also his contention that little old ladies who complained about having someone toy with the balls on the stocking caps just want to have unusual carnal relations. As with most tenets of a person’s worldview, there was some grain of truth in Kurt Lee’s, but he often had to put forth a great deal of effort to support it.

In most such discussions, Kurt Lee’s audience was immune. “I’m not talking about you,” he would say to his audience, so they might view the subject matter from a shared perspective. If we began to view ourselves as an ally, we might join him in convincing our world that he’s not that bad, or the world is as bad as he is. Yet, our agreed upon immunity from his charges begins to fracture in the course of the thief’s logical extensions. When that happens, the thief turns their accusations on us. We might consider ourselves all virtuous and moral, but the thief knows everything there is to know about hidden agendas. They maintain a perpetual state of readiness for that day when we break free of the constraints of morality and loyalty to expose our evil, naked underbelly to the world. The thief has us all figured out, because they know those lies we tell. It’s the thief’s mentality.

Thieves may even believe their exaggerated or false accusations, regardless of all we’ve done to establish ourselves as good, honest people. The validity of their accusation, however, pales in comparison to their need to keep us, the subjects of their accusations, in a perpetual state of trustworthiness. Kurt Lee, and my adventurous ex-girlfriend, made their accusations to keep me in check in a manner they knew I should’ve kept them in check. The import of that line provides us a key to understanding why an individual with a thief’s mentality would make such a charge against us, and the Pete Pestronis of the world who are so honest it’s laughable to suggest otherwise. Some might call such accusations psychological projection, the inclination one has to either deny or defend their qualities by exaggerating comparative examples in everyone else. Others might say that it’s some sort of deflection or obfuscation on the part of the thief, but I believe it all falls under a comprehensive, multi-tiered umbrella that I call the thief’s mentality. Still others might suggest that Kurt Lee’s accusations were born of theories he had about me, the people around him, and humanity in general. If that is the case, his theories were autobiographical.

Whether it was as complex as all that on an unconscious level, or some simple measures Kurt Lee developed over the years to prevent people from calling him a POS, I witnessed some try to turn the table him on the accusations by telling Kurt Lee that other people trust them. “What are you talking about?” they’d ask when Kurt would start in on one of his You’re no better than me’ rants. “My guess is when you come over for family reunions, your aunts and uncles hide their wallets and purses. They don’t do that to me, because I don’t steal, cheat and lie.”

Kurt Lee’s response to this was so clever that I thought it beyond his years. Again, I hate to discount individual ingenuity, but it just seemed too clever for Kurt to deliver as quickly as he did when he said:

“So, if someone trusts you think that means that you’re trustworthy?” Kurt Lee responded. He said the word trustworthy, as if it was an accusation, but that wasn’t the brilliant part of his response. As brilliance often does, his arrived in a section of the argument where the participants will say whatever they can to win, regardless what those words reveal. Kurt Lee suggested, in different words, that those who consider themselves a beacon of trustworthiness are suffering from a psychosis of another stripe. The reason I considered this response so perfect, as it pertained to this specific argument, was that it put the onus of being trustworthy on the person who challenged Kurt Lee’s trustworthiness. It also put further questions regarding Kurt Lee’s character –or what his inability to trust the people in his life said about him– on the back burner, until the questioner could determine whether the level of his own trustworthiness was a delusion that group thought led him to believe.

Crafting the Frame

With all that Kurt Lee taught me about this fascinating mentality, always fresh in mind, I’ve had a number of otherwise trustworthy friends ask me how to deal with the thief in their life. They failed to understand why their loved one couldn’t trust them in even the most benign arenas of life.

It stressed one of my friends out, “I don’t know what I did to damage his trust, but no one’s ever accused me of half of the things he does.” She said that she considered herself a trustworthy person, and she always had, but  she was insecure about it, as we all are. “How do I win him back? How do I regain his trust?” she asked.

“It’s not about you,” I told her. “It’s the thief’s mentality.” I didn’t enjoy saying this to her, because I was basically telling her that she was trapped in a relationship with the afflicted. I explained the mindset of the thief, as I learned it from my personal experiences with Kurt Lee, and she later told me that it helped.

“It helped in a weird way,” she said. “I finally had a name for what he did. Every time he accused me of cheating on him, or wanting to cheat on him, I’d think, it’s the thief’s mentality. It didn’t stop the accusations or the insecurity I felt afterwards, but it helped in a weird way to know that someone else went through all this. It sort of helped me frame him in a way I never considered before.” 

When I told her that she wasn’t trapped in the relationship, she said, “Oh, I know. I could dump him like yesterday’s trash,” but she never did. She ended up marrying the guy. So, whatever short-term relief she experienced with this idea that her loved one was never going to trust her anymore than he trusted himself dispelled it.

The damage thieves, like my friend’s lover and Kurt Lee, incur is irreparable. They likely do not enjoy the lives they’ve created for themselves, and the idea that they can’t even trust the one person in their lives that they could, or should, but their accusations do allow them to spread their misery around a little. It lightens their load to transfer some of their toxins to others. It also gives them a little lift to know that we are a little less trusting than we were before we met them. They must find some relief in the belief that they are not such an aberration, but this relief is temporary, as the toxins that have made them what they are as endemic to the biological chemistry as white and red blood cells. Nevertheless, it must please them to know that after our interactions with them, we now view humanity in the same cynical, all-hope-is-lost manner they do.

If it’s true that a mere two percent are self-aware and reflective, then the lack of self-awareness, at least as it pertains to what we are, and what we are to become, is as endemic to the thief’s mentality as it is in every other walk of life. Like the rest of us, thieves do not believe they live on an exaggerated pole of morality. Rather, they believe they reside in the middle, alongside the rest of us, somewhere just north of the good side of the fuzzy dividing line. They also know that we’re all tempted to do that one thing that could tick us over to the south side. What separates them, to their mind, is their lack of fear, coupled with their refusal to conform to the norms their parents and other mentors taught them. They are also keenly aware that we place most of humanity on their side of the fuzzy line because we all have problems trusting those we don’t know well enough to determine whether they will make moral decisions in life. Some take this natural state of skepticism a step further. Some thieves’ exaggerated, outward distrust for those around them says far more about them than about those they condemn and accuse. It’s the thief’s mentality.

How to Succeed in Writing Part II: The Search for the Great Story


Being Entertaining is More Important Than Being Honest

Do you have a great story to tell? Is it good? Is it great? Do your friends find your stories mildly amusing, somewhat clever, a little sad, and really good in parts, or do they find them great? Most aspiring writers don’t write great stories right out of the gate, and aspiring writers are a dime a dozen. Great stories litter our libraries and bookstores. Do you have a great story to tell? Most people do. There’s nothing special about you, or your “great American” story, not yet.

“I hear you want to be a writer,” a friend of mine said. “One thing about young writers (which I was at the time) is that they have not accumulated interesting stories. I don’t mean to be insulting, but at your age you just haven’t lived enough life to have interesting stories.” After a back and forth in which he asked me to tell him one of my stories, he offered me his own. His story was “part John Grisham and part Ludlum”. The story was not as great as he thought, but the two points he made about material stuck with me.  

The first was his point that the continental divide between great writers and great storytellers is entertaining material. A writer can craft a fine tale, but if it’s not entertaining, it may not make it past the sites that adore a great story. The second point he made, perhaps incidentally, was that there’s nothing wrong with embellishing, if it makes the story better.

But you are a great writer with excellent material. Your Aunt Clara told you so. You have a gift for storytelling that crushes those around you. You get reactions and laughter that others don’t and amazement is directed at your storytelling aptitude. The only problem is you may have enough material to entertain your Aunt Clara, because she knows you and she knows the characters in your life, but you don’t have the type of material that will entertain a wider audience. That’s a problem, but it’s a problem that has haunted storytellers all across the spectrum from the aspiring storyteller to the legend.

It is a fact of life though that some of us are just better at telling stories than others. It’s a fact of life similar to the fact that some people have natural gifts that lead them to be better at basketball and football than others. Some would say that the ability to tell a story is a gift, but I’m more inclined to believe that some people just enjoy it more, and when one enjoys something more, they work harder at it. The fascinated storyteller studies it, finesses it, and learns from those around them who do it better. Even in its most primitive form, such as the sharing of memories with friends and relatives, some of us learn how to tell a story better than others, because we want to tell a story better. We mimic those that tell stories better than us, and we correct the mistakes we see in others’ attempts.

One thing I learned, through the course of my life, was to trim the fat. I used to believe that my audience needed all of the details to appreciate a story. I then learned that all of those details harmed the most crucial element of storytelling, pace. Pace is crucial for we must treat our audience as if they have a five-year-old’s attention span. Storytellers then learn, through trial and error, that if we focus on pace too much, we leave crucial nuggets out. Achieving the hybrid involved a never-ending learning process.

Before entering into these stories we tell our relatives and friends, however, we must make time for the obligatory kid and pet stories. It never ceases to amaze me that when a room full of highly-evolved, well-educated adults gather they spend so much time obsessing over pets and children. When we’re done obsessing over our kids and pets, we share memories. It’s in these moments that a true storyteller is separated from those who struggle with  details, timing, the proper emphasis, and the number of syllables to use to  punctuate a punch line. It’s in these moments that we learn the art of presentation.

Lan 1283On the art of presentation, comedian Steve Martin once compared comedy to  music: “There is a harmony to comedy,” he said, “in that three beats are always funnier than two and four beats is a bit too much.” Only someone that gets off on telling stories, and trying to make people laugh, would focus on the minutiae of presentation so much that he focuses on beats. I cannot tell you how many times I’ve changed a word, a phrase, or a paragraph to get the rhythm right, or the beat down. I can’t tell you how often I’ve changed an infinitive in a sentence because the alternative just didn’t feel right to the harmony of a paragraph. It’s that attention to detail, that Martin alluded to, that makes storytelling an art form we all enjoy so much.

Once we gain a feel for presentation, and all of the related and inter-related minutiae, the next question is how do we come up with that material that reaches that wider audience and eventually lands you on the best-seller list? Having never achieved the best-seller list, I must admit I have only one super secret, decoder ring answer to all that: hard work. Unless you find a genie in a bottle, or steal an idea from someone else, I can think of no better way to give birth to an idea than through writing a ton of material.

Creative Writing teachers say, “write what you know”, and that is an essential activity in getting us to point A. How many of us have written those “What I did on my summer vacation” stories for our English Composition teachers? How many of those of us who wanted to write the next Crime and Punishment considered these exercises pointless? “Get me to the meat!” we mentally scream. I want it all, and I want it now! Those exercises weren’t entirely pointless, however, they got us thinking, writing, and spring boarding to that something something we considered magic.

That springboard launched those of us that wanted it to take that pointless exercise to the idea that we could write something fantastic … if we honed that artistic muscle in our brain. If we wanted that something fantastic, we learned that the best way to springboard to it was to read some of the masters that sprang from their own springboards. If we wanted it bad enough, we learned that the best way to achieve it was to launch ourselves into more writing and reading, and even more writing and more reading, until we eventually and accidentally landed upon an idea. Some of us took that little springboard to greater heights and more material, and others considered it a pointless exercise required by a teacher who knew as much about achieving the best-seller list that we did.

This leads us to one of the most vital questions all fiction writers must ask themselves: “Will anyone care what I write?” The immediate answer to this question is no. Unless you’re already famous, people won’t care what you think, what happened in your daily life, or if you have a propensity for catching colds that your mom says is epic in proportions.

BullFrom  Ron Shelton’s script for Bull Durham:

“Your  shower shoes have fungus on them. You’ll never make it to the bigs (major  leagues in baseball) with fungus on your shower shoes. Think classy, you’ll be classy. Win 20 in the show, you can let the fungus grow back and the press’ll think you’re colorful. Until you win 20 in the show, however, it only means you are a slob.”

Until you get famous, and those who care about celebrities care about you, you’ll be a slob, until then you’ll need to write something that someone cares about. Nobody cares that your friend has a propensity for lying, for example, unless that characteristic can be added to one of your characters to make them more colorful. Nobody cares that your aunt is ultra-sensitive, even though everything she has in life has been given to her on a silver platter, unless you can infuse that characteristic into a character in a manner that is entertaining to a greater audience. Nobody cares, unless you can translate these characteristics in such a manner that reminds us of our lying friend, or our hyper-sensitive  aunt. Or, if you can’t make this crossover, then you must make that character so damned entertaining that we won’t care when we can’t relate.

SOLZHENITSYN“The key to convincing another person of your point of view,” Philosopher Aleksandr Solzhenitsyn once said. “Is to make them believe that they arrived at that answer themselves.”

Convincing someone that they’ve reached your point before you do, is called manipulation in the writer’s lexicon. When most people see the word manipulation, they think evil. They think of a totalitarian leader manipulating their citizens to think a certain way, but a writer can use their powers of manipulation for good, if they do it right.

How many of us have laughed at a funny book, cried during a dramatic one, or were scared by a horrific story? When a reader experiences emotions, after reading a series of words on a page, they were manipulated by the author. If a reader prefers to think of it in other terms, that is their option, but the vein remains the same. The reader was made to care about the central character in ways they considered endemic to the reader, when in all actuality it was the author’s skill to be universal that led them to that point. The author carefully crafted a visual portrait picture that trapped the reader into caring.

It’s the job of the writer to manipulate the reader into believing that they care. It’s the writer’s job to create an environment through which a reader is willing to suspend disbelief.

“If a writer can infuse a human interest and a semblance of truth into a fantastic tale,” Samuel Taylor Coleridge suggested. “The reader would suspend judgment concerning the implausibility of the narrative.”

In other words, an author could be the oddest, smartest, most sensitive storyteller that their friends have ever seen, but the reader don’t know them, and the reader won’t care about the author, or their wacky takes on life, until the reader can relate to the wacky world the author is in charge of creating.

This leads us to the next question: What kind of liar are you? When you were younger did your relatives and friends constantly accuse you of fudging the truth? If that’s the case, you may be a writer. Did they question everything you said, based upon your history of exaggeration and fabrication? If they did, you may be a writer. Were you so good at lying that they were willing to suspend disbelief for a moment, because some part of them wanted to believe your story? If that happened to you, you may be a writer. If you’re a born liar that needs some venue for channeling that inclination to exaggerate your truth to entertain those around you, welcome to the world of words. You can let your freak flag fly here, and we’ll welcome you with open arms. You can be crafty in our world. You can lie, embellish, and exaggerate to entertain. In the world of storytelling, story is sacred, as is the art of being true, even if the writer is being truer than true.

“The hardest thing is to make something really true and sometimes truer than true.” –Ernest Hemingway on symbolism.

“All good books are alike in that they are truer than if they had really happened and after you are finished reading one you will feel that all that happened to you and afterwards it all belongs to you; the good and the bad, the ecstasy, the remorse and sorrow, the people and the places and how the weather was.” 

When writing nonfiction, we hover over a fault line of true versus truer than true, and we should always side with true. For in most cases, nonfiction is far more entertaining than fiction. It’s a feel that the author shares with the reader, a seam that will tear with wild exaggeration. We need to be careful, in other words, to avoid some exaggerations we find entertaining, because the definition is entertainment is subjective. This is where the manipulative skill of the writer comes into play, for if the author can help the reader define subjectivity, they can both enjoy some exaggerations that prove truer than true for the purpose of entertainment.      

It takes a very steady hand, but those who have written as many stories as I have know what I’m talking about. The art of being true, without necessarily telling the truth, can be found in the art of creating creative non-fiction. If the author is true to the character, the pace, the layout, etc., a fudging of the details will be forgiven if, and I want that word italicized and emboldened, if the story is entertaining.

Being entertaining is far more important than being honest in our world. An author might have interesting stories that have occurred in their life, and they may be worth telling, but they may not be great without some lies, exaggeration, and embellishment. And we won’t care about any of that as long as the author doesn’t swear all the details are 100% true, because we want a great story, and we want to be entertained.

This search for the great and entertaining story has even plagued the masters. The young Ernest Hemingway couldn’t come up with a decent story for his first novel, so he decided to document his life in Paris, in his first novel The Sun Also Rises. How much of that book was actually based on fact is difficult to know. Was he merely documenting what took place, or was he engaged in creative non-fiction. Whatever the case was, he used it as a springboard for a career that many would say contained some of our finest novels. Hemingway would eventually reach a point where he could no longer come up with great stories, and some have suggested that this search was one of the contributing factors in his decision to take his own life. Before this tragic event occurred though, Hemingway said: “Everyone has one great story in them.  The trick is to have two.” An aspiring author can find that one great story that they have in them, but it’s going to take a lot of writing, and a lot of reading to eventually and accidentally make it happen.