Photo Challenge: Satisfaction

When I was sick this summer, Maximus Imperius and his brother Tiny kept me company. Unfortunately, I tend to forget how bloody smart they are! One day, Maximus saw me pulling a tissue from the box and . . .

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Afterwards, when I had cleaned up the mess, he just looked downright smug. I think he was quite satisfied with how clever he’d been.

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https://dailypost.wordpress.com/photo-challenges/satisfaction/

“Killers of the Flower Moon” A Review

Sometimes, historians run across stories that won’t let us go. Stories that haunt us, that creep up on us at odd hours, that refuse to go away quietly. And yet. We hesitate, because these are often the stories that have no resolution, no sources, no proof.

For us, as author David Grann says, it’s not “a case of should this story be told; it’s a case of can this story be told?”

51wnupYTkOL._SY346_Last Thursday, Grann was in Wichita, a guest of Watermark Books. A friend called, and I dropped everything to go. Grann’s new book is called Killers of the Flower Moon:  The Osage Murders and the Birth of the FBI. As I read up on the book ahead of time, what I couldn’t believe is that the book’s events took place not only right in my own backyard – the Osage Nation is maybe 30 miles from my house – but that I’ve been researching the same time period for a couple of years and have never run across any mention of this event.

If the name David Grann sounds familiar, it might be because he’s a writer for The New Yorker. It might also be because he wrote a little book called The Lost City of Z, which was recently made into a movie with Brad Pitt.

Killers of the Flower Moon is broken into three parts. Part 1 focuses on the early days of the Osage Nation, including the discovery of oil on their lands, and the first murders. Part 2 focuses on the story of Tom White, the FBI agent assigned to solve the crimes, and his investigations. Part 3 is David Grann’s story of finding out about the murders, his research, the questions he still has, and his own suspicions.

OSAGE_COUNTyThe Osage Murders are a little-talked about event in Oklahoma history. During the years 1921 – 1925, at least twenty-four wealthy members of the Osage tribe, as well as whites who were trying to help, were brutally murdered. But Grann thinks the murders began much earlier, and involved “scores, if not hundreds” more murders than the twenty-four officially acknowledged. Why were they murdered? One word:  money. In the early 1900s, there was an oil boom throughout northern Oklahoma and southern Kansas. Tiny ‘boom towns’ popped up everywhere, sometimes within just three or five miles of each other.  And nowhere was the oil boom bigger than in the Osage Nation.

Each member of the tribe had headrights – the profits from the wells – and most of those headrights made hundreds of thousands of dollars per year. Per capita, they were the wealthiest people in America. The owned huge mansions, the best cars (according to legend, families owned up to 11 cars each!), and even had white servants. Maria Tallchief, the first prima ballerina in America, was Osage.

And then the murders began.

Wealthy Osage were being poisoned, shot, and simply disappeared right and left – and those who would have talked about the murders were also killed. After local investigations led nowhere, FBI director J. Edgar Hoover sent in Agent Tom White to put together a task force to investigate and solve the crimes.

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Document from one of the murder trials – held by the Oklahoma Historical Society. By Rmosmittens – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=47663712

As a historian, I’m always fascinated by the research end of things. Grann said he first learned about the Osage Murders by accident. He took a trip to Pawhuska, to the Osage Nation Museum, where he saw a huge panoramic photograph of the people of the area – with one corner cut out. That corner, he was told, contained a photo of “the devil” – the man who most believe orchestrated and perpetrated most of the murders.

Grann began to research in earnest, spending years in archives, libraries, and courts. He found, as have most writers and historians, that while there were enough primary sources to work with, they didn’t answer all his questions. The things he most wanted were the very things that had been destroyed or lost over the years. In fact, last Thursday, Grann admitted that this was the hardest book he’s ever worked on. He spent weeks at the National Archives in Fort Worth and other places, digging through tribal records. He sought FBI files. He sought out descendants of both the victims and the murderers – though, as he says, sometimes they were one and the same. For him, this was never a case of ‘this story needs to be told;’ it was always a case of ‘can this story be told?”

Killers of the Flower Moon takes an even keel – you can senses Grann’s eagerness to discover the truth, and his frustration when he can’t, especially in the last section. But a true journalist, he never inserts his own views in the first two sections. Even in the third section, which he writes from his ow perspective, he holds back. He does make it clear that he thinks the FBI screwed up. But he doesn’t level accusations, just presents the information as he’s found it, and leaves it to the reader to decide.

It’s well-written and fast paced, and I enjoyed it a great deal. I certainly am floored that I’ve never heard of these murders before. However, as a historian, I came away feeling that it was ‘History Lite.’ This is a book of popular history, meant for the masses. As such, it’s a great introduction to this time period, the history surrounding the murders, and the Osage themselves. If you’re looking for a true historical account, you’ll be a bit disappointed. There’s no footnotes and no proper end notes. I wish Grann had used a historian to help him with citations, because anyone seeking to follow his sources are going to have a tough time of it.

Still. As someone who has also spent years chasing leads and sources and knows deep down that they may never find the answers to a historic cold case, I understand how difficult this book must have been for Grann to research and write, and I think he did a good job with an introduction to the subject.

Now it’s up to the historians to follow his trail and tell even more of the story.

 

Slate.com – Review of Killers of the Flower Moon – http://www.slate.com/articles/arts/books/2017/05/killers_of_the_flower_moon_by_david_grann_reviewed.html

An article on Atlas Obscura written by Grann about his research – http://www.atlasobscura.com/articles/osage-murders-photos-killers-of-flower-moon

Outlining for Pantsers – or How to be Organized When You’re Not.

You may have heard the old “plotters vs. pantsers” thing. Plotters outline. They have detailed notes on chapters and characters before they ever start to write. They have notes on their bulletin boards and when they’re done with a novel, it’s done. They don’t take random road trips; they take their car to the shop for an oil change and new tires first, and not only do they have AAA maps, they’ve also got a GPS and fully charged cell phones, and an itinerary planned down to the hour.

Pantsers, on the other hand, say screw that! Let’s take this road, it looks interesting. Hope there’s a gas station soon, because we’re sitting on a quarter of a tank, but hey! If not, we should have cell service. Wait. Where’d the signal go? Oh well! Keep going! They have a character, or even a scene, in mind, and they just write until they either finish the novel or the novel finishes them.

Guess which I am? 🙂

For the last couple of weeks, I’ve been involved in edits and rewrites to a manuscript. It’s changed considerably in the past months, and I’m having trouble keeping up with it all! My friends think I’m so organized. I haven’t got the heart to tell them it’s all a ruse, a clever illusion so complete that even Penn and Teller would be fooled.

There’s a saying among writers:  “You can either plot it before you start, or after you finish.” Pantsers often end up with a novel that’s a bit of a hot mess – the characters are often fantastic, and a lot of the scenes are engaging and surprising because pantsers have this ability to let the characters do whatever the hell they want to do. But they may not flow well, and some scenes may be extraneous. Some plot ideas are just dead ends. So when they finish that first draft, they have to put the work back into it to turn that hot mess into something coherent and cohesive. Been there, done that. Want my spare T-shirt? 🙂

Last year at the Rose State Writers’ Conference, I attended a workshop on “Outlining Your Novel.” I took those notes out this morning to see if there was anything in there that I could use for my current predicament.

  • The presenter argued that you should outline ahead of time, even if you don’t follow it. This is because when you start, you should at least have an idea of where you think you’re going. And if you get stuck, or start to go down one of those scary roads, you’ve got that outline there to maybe bring you back.
  • For her own novels, she makes a list of 10 key scenes she wants to see in the story, scenes that she’s really looking forward to writing. Three or four of them are what she terms “money shots” – scenes she really wants to get on paper, scenes she’s dying to write. The others are going to be good too, but not quite as gripping. These are jotted down in no particular order.
  • As we all know from reading and writing, stories often fall apart in the middle. She suggested looking at the three-act storyline (which I admit, I’ve never truly understood and still don’t). For me, the best way to do it is to think about it this way:  what does your character want? What are they going to do to get it? And what can do you do to stop them from getting it?
  • Every scene should lead to the next one. Your character has a setback? Let her rebound in the next scene. Your character’s in trouble? Leave that chapter on a cliffhanger and continue that scene to the next instead. Keep the reader reading! Likewise, each ‘act’ must build towards something. (Truthfully, I think this is where pantsers sometimes have an advantage:  we just follow the characters, so when they get in trouble, we follow them to see how they get out of it.)

HOWEVER. This presenter admitted that outlines change. You may start out knowing precisely where you want this novel to go – let’s say you’ve got a heroine who is fighting against her evil older sister, a queen. But then you get into the novel more. You start to figure out who these characters are. You realize that the queen’s not evil at all – she’s just frightened and misunderstood. And that love interest you created for the heroine? He’s not as nice as you thought he was. Voila! You’ve just written Frozen. Congratulations. As you spend time with  your characters and get to know them, they’ll start to do things you didn’t imagine. And when they do that, your story takes on a life of its own. That’s one of the reasons why outlines can be tricky – if you get too attached to them, refuse to follow that interesting dirt road your characters insist on going down, you could stall out.

Another way to keep stories moving – and another good reason for outlines – is that there’s never just one plot. There’s your Main Plot, the Big Picture if you will. Take Harry Potter #1, for example. The Big Picture is Harry finding out who he really is, and preparing to go against Voldemort. But how many smaller plotlines are there? His friendships with Ron and Hermione. The Quidditch team. His rivalry with Draco Malfoy. The classes he’s taking. Do they all tie into the Big Picture? Yes. They all help to create that Big Picture, don’t they? But the smaller plots can get lost. Outlining can help you plug them in.

Outlines needn’t be great big things with Roman numerals and huge chapter synopses. Where’s the fun in that? But let’s say you’re like me, and you’re a pantser who’s rewriting a novel. Where can that take you?

What I’m doing is creating a to-do list for the novel (which I discussed earlier this month). I know what scenes need to stay and which are going to have to go; I know what scenes I need to write. My job now is to figure out where they go, and then tie them together. I can’t worry about tying them together at the moment; we’ll get to the flow and confluence of the scenes later. Since I’m adding a character, I have to weave in his story line to the original manuscript. And along the way, figure out where scenes go for maximum buildup to the end.

So my outline is, I guess, a work in progress. I know it will help immensely once I get it done. And there’s no right or wrong way to do it. Like I said – Roman numerals are not necessary! For examples of this, see the links below.

 

http://www.betternovelproject.com/blog/series-outline/ – Deconstructing J.K. Rowling’s Series Grids.

http://michelleboydwaters.com/handwritten-outlines-of-famous-authors/ – Some great images of ‘plot outlines’ by famous authors, including Joseph Heller and Sylvia Plath.

Writers Who Write Things Down: Making To-Do Lists for Novels

Writing is a lonely, frustrating thing.

Wow. Big surprise there. I hear you. (I can also hear you rolling your eyes, thanks.) But it’s true. No one ‘gets’ what you’re doing, sitting at your laptop day after day. People see you sitting at the coffee shop and think you’re not doing anything, so they sit down to chat with you – and unless you want to be really rude, you feel like you kind of have to let them. Which kills whatever momentum you’d gotten going.

It’s hard to stay motivated. It’s hard to stay on task. It’s hard to pound the keyboard, not knowing if what’s going to come out today is pure gold, a dribble of cold pudding, or something in between. Generally, it’s something in between. If you’re lucky.

So how can we stay motivated?

A few years ago, an agent requested the full of one of my novels. It had a ton of issues, and I was frantic, unsure how long I could put her off, or how long it would take to fix the problems. Because there were a lot of problems! It was my first query, my first submission, and I was petrified I’d screw it up.

So I printed a fresh copy of the manuscript, sat down with a pen and a fresh stack of Post-It Notes, and started. I was overwhelmed and had no starting place – so I had to create one. I wasn’t revising at that point. I was making a to-do list. 

It’s pretty simple. I’m a very visual person, and I tend to forget things if I don’t write them down because I’m also a little scatter-brained. So every single page of that manuscript was gone over. Notes on everything were made. Then I typed up all those notes into a master to-do list for completing the revisions. These notes ran the gamut from character development and motivation, to dialogue, to scenes that could be cut or needed to be moved. This process took about a weekend.

Then, it was time to get to work. As I completed one item on the list, I crossed it off. And in far less time than I thought – just about two weeks – I was done with all the changes I wanted to make.

6124050I think this is reflected in one of my favorite self-help books, Write It Down, Make It Happen by Henriette Anne Klauser. The gist of this little book is that if we want to make things happen in our lives, the best way to do it is to announce our intentions – by writing them down. The act of writing our goals, dreams, and plans sends a signal to the subconscious that this is something to Pay Attention To. She has several examples in the book of people who did precisely this – whether it’s writing letters to as-yet unborn children to attract the kind of soul they want in their child, to writing and burning things we want to forget about, to Jim Carrey’s famous $10 million check he wrote to himself as an out-of-work entertainer.

Obviously, the act of writing them down doesn’t actually make them happen. I want to win the lottery, and I can write that as much as I want, but if I don’t actually go buy the ticket, it’s not going to happen. It’s the same thing with my to-do lists. I want to finish this novel or that one. What is it I need to do? 

The answer is a to-do list.

Lists keep me focused and grounded. I may not have all the answers right now, but that’s okay; my subconscious will be working on it. (Haven’t you ever had that moment where suddenly, all the problems you were having with a manuscript evaporate and the answer Reveals Itself Magically? It’s awwwe-some!)

For Nicky, my to-do list is all over the place – here’s a sample of what it includes:

  • p. 10 – move up about the post office from page 46.
  • p. 5 – do we need to explain that bodies weren’t shipped home during World War I?
  • p 27 – Simon teaches him to fight – need to put that scene here.
  • How much were property taxes in the 1920s? Need to know.
  • p. 35 – there’s no tension here! No questions being asked. What can we do about that?
  • Research court-martial procedures. Maybe change it so that Daniel isn’t a CO, but part of the mechanics’ corps?
  • What the bleep happened to the Model T’s top, and why don’t they fix it???? ?
  • p. 105 – um, why is the Sheriff at Sally’s? It’s a great scene, but what do we learn from it? How does it further the story? Make in integral, or ditch it.

It has also included things like:  finding maps of the area c. 1924, how fast a Cadillac V-8 can really go and could you build a turbo charger in the 1920s (the answer is yes, by the way), and many others. As something gets accomplished, it gets crossed off the list.

To-do lists are great for several reasons. The most obvious is that it gives you something concrete to work on. If you’re not feeling at all creative or energized today, work on those mechanical issues. Move that scene over there. Maybe write a new intro so it flows better. And you know what? It might just be that you start to get energized at that point. And then you can move on and maybe tackle something else, like dialogue that needs fixed or a question of motivation on page 81.

But another reason is that it keeps the novel in the forefront of your mind – or at least, in your subconscious. The very act of writing that list means you’re focused and serious. It sends a signal to the universe that you want to finish this. Badly! And it sends a signal to your characters that I’m here and I’m not giving up on you. And – maybe most importantly – it sends a signal to yourself. You’ll find yourself mulling over small things. In the middle of an afternoon meeting, you’ll find yourself jotting down a new transition for between scenes, one that’s brilliant and perfect. On your morning walk, you’ll suddenly have the solution to a character’s problem pop into your mind. You’ll find that tackling the mechanical issues pave the way for you to focus on the ones that require your creativity and focus.

Writing can be lonely, yes. And frustrating. But if you’re like me, the list can help it be a little less frustrating.

 

A link to Barnes & Nobel, where you can get Write It Down, Make It Happen:  https://www.barnesandnoble.com/w/write-it-down-make-it-happen-klauser-henriette-anne/1121692444?ean=9780684850023

Here’s a link to a similar post from 2015:  https://kswriterteacher.wordpress.com/2015/03/22/falling-back-in-love-with-your-manuscript/

And a clip from Oprah, where Jim Carrey tells the story of the check: https://www.youtube.com/watch?v=DXwVD2ncqfE