Tag Archives: fiction

Why I Pulled You Over

Officer Drew is on the scene
Officer Drew is on the scene

When a highway patrol officer asks, “Do you know why I pulled you over,” they’re inviting you to incriminate yourself. This is not the case with the state trooper in this story, he has his own reasons, ones that turn out to be pretty insane.

Like my previous short Headbleed this excerpt is another peek at a dark work in progress. It stands on its own as a fun dialogue driven exchange.

Why I Pulled You Over

Cameron leaned out the window to feel the summer breeze against her skin. It smelt of wheatgrass and wildflowers. The air freshener had nothing on it. Giving up on a radio signal, she embraced the steady whooshing of the wind. There was something surreal about the view, the sheer flatness of the plain. With the clouds touching the horizon, it felt like she was driving into a painting.

Checking her reflection in the side mirror, Cameron watched her jet black ends flow from the bandana concealing her blond roots. The sun made the Beetle’s orange paint job glow. The additions she’d made to the bonnet flapped with each gust, more distractions than hazards.

Cameron shift her gaze to the rearview mirror. Nothing but prairie in both directions. Reaching into her purse, she dug out her phone, setting it on the horn.

The lock screen was filled with a rainbow coalition of alert icons: the Snapchat spook, the Reddit robot, and the Twitter turtle dove. With her hand up at two, Cameron unlocked the screen with her thumb. The mail icon’s notifications were in the triple digits, it would have to be priority number one.

She held down the home button until she heard a chime. Cameron said, “Read my last e-mail.”

The phone’s monotone modulation said, “On June 1st, Kat Carey sent you an email about A Guest Blog Opportunity.

Dear Cam,

I discovered your blog through a comment on a piece I wrote on eliminating exposition by modeling scenes after movies. Turns out you beat me to the punch by several months. You showed up early in the same dress, and by all accounts, wore it better. Jealous as I was, I’ve been lurking on your site ever since. My page reaches twenty-thousand readers a day, and your snark to wit ratio is exactly what I’m looking for.

I have an opening for Monday the thirtieth. I’d love for you to contribute.

Sincerely,
Kat Cedar”

Catching a billboard of an ultrasound out of the corner of her eye, Cameron chose to ignore its text, and the vehicle beneath it.

Pressing the home button until it chimed, Cameron said, “Reply to this email. Thank you for thinking of me, period. I’m covering an art car festival until the end of the month, period. We’ll see if I can get a moment to write something clever for you, comma, and a good enough signal to upload it, period. I’ll let you know by the end of the week, period. New Paragraph, Your consultant in crime, comma, Cameron Mandex. Send.”

Watching the grass sway along the highway, Cameron imagined herself floating above the road, with no wheels or engine, wishing this stretch of highway was her workspace. She saw herself coming back this way, far from the thumping speakers, the bickering couples, and the howling frat boys, she’d switch on cruise control and just let go. She’d finish her thesis out here.

The thought passed at the sight of the blue and red lights flashing in the rearview mirror.

2. Glasses Refelection

Rolling down the window, Cameron held her license and registration at ten and two.

The highway patrol officer took his time ambling to the door. Through the mirror, Cameron watched him crack his neck from side to side, roll his shoulders, and stretch one arm across the other, a boxer preparing for a fight.

Standing in front of the sun, he snatched up her license. “Where’s the ball, Cinderella?”

Cameron squint, “I wasn’t speeding.”

The officer craned his head to take in the green stem atop the orange Volkswagen Beetle. “Can you think of another reason why I might have pulled you over?”

“Because you have a quota?” Cameron said flatly.

He rolled his eyes. “Try another?”

Biting her lip, Cameron sighed. “My tabs are current, my tires are full, my lights are in perfect working order.” She tilt her head back, “And even with the addition to my roof, the car is only eight feet tall, which is five less than the state maximum.”

“Can you think of any other reason?” The officer cocked his chin toward the raised teeth, framing the Jack-O-Lantern paint job beneath the windshield. “Maybe something obstructing your vision?”

Cameron glanced at the crooked smile just past her dashboard. She shrugged. “What do you want, an artist’s statement?”

Taking her piece in, the officer shook his head. “I wouldn’t go so far as to call this rig an ‘art car.’ With all this crap hanging off, it’s more of a mutant vehicle.”

Lowering his sunglasses, he peaked inside. “Christ, even the upholstery is orange? That’s dedication.”

He leaned over the window. “Are there any weapons in the… pumpkin, I should know about?”

Cameron looked to the long tube of pepper spray dangling from the ignition. “Nope.”

The officer rolled his head from shoulder to shoulder. The motion carried from one raised eyebrow to the other. “If I were to check the glove compartment, I wouldn’t find anything interesting?”

Cameron felt the sweat pooling beneath her bandana. She glared at the officer. “You mean, if you had a warrant to check it?”

Shaking his head, he waved the notion away. “I’ve got to run an inventory if you want to get your stuff back.”

Looking back and forth, Cameron processed this statement. “Get my stuff back? No no no, you’re not towing me.”

The officer threw his hands up. “This rig isn’t exactly street legal. Suppose the stem breaks off and hits another motorist.”

Cameron dug her nails into the wheel. “Suppose an eighteen wheeler pops a tire and the rim goes flying.”

3. Lecture

The officer rapped his knuckles down the frame. “Suppose these papier-mâché teeth come unglued from the hood.”

Cameron snapped at him. “First of all, they’re silicone, not papier-mâché. Second, they’re caulked on, not glued, and third, this is a Beetle. That’s not the hood, it’s the trunk.”

The officer shook his head at the road. “I’m sorry, but semantics don’t make it safe. I’m going to have to ask you to step out of the vehicle.”

Cameron mouthed a vulgarity with no breath behind it. Slinging her purse over her shoulder, she reached for her keys.

The officer smirked. “Leave the pepper spray, I’ll get it for you.”

Stepping out of her pumpkin carriage, Cameron took it in one last time. Raising her phone, she positioned her modest creation into the frame; months of planning reduced to a single snapshot. Who knows how much of it she’d get back.

She remembered how she justified the investment to her parents, “People don’t open up to bystanders like they do to participants.”

She could already hear her father’s reaction to this development. “This is fate redirecting you to a path with a future at the end.”

Pausing at the patrol car, she got an odd feeling. There was something off about the coloring. Something foreign about the font for “STATE TROOPER.” She pointed to the text beneath it. “You’re a little ways outside of your jurisdiction.”

Opening the back door, the officer tipped his hat, “We cover every street statewide.”

Cameron froze. “Is there a Humboldt County in this state?”

Putting his sunglasses on, the officer cocked his head. “Sounds like your speech is slurring. You sure you haven’t had anything to drink?”

4. Baton Boy

Opening the driver’s side door, he fished a breathalyzer out of the compartment.

Cameron squint, “No, and you never asked me if–”

He cut her off, “Better breathalyze to be on the safe side.”

The officer shoved the device in Cameron’s mouth. It happened so fast she didn’t have time to consent. She had to tilt her head back just to avoid chipping her teeth.

The playful tone fell out of the officer’s voice. “I’m going to need you to take a deep breath, then I’m going to tell you to exhale.” He squeezed the breathalyzer, “Alright inhale.”

Cameron flared her nostrils. An oder came off the device: the head smelt sweet, the body stunk of alcohol, and the tail was pure antiseptic.

The officer looked beyond the breathalyzer, locking eyes with Cameron. His lips shrunk in. Somehow she knew, he was gritting his teeth beneath them.

He tilt the breathalyzer. The odor intensified into a taste, industrial soap spilling down Cameron’s tongue. It overpowered her senses, the sound of wind faded, the sun dimmed. She felt weightless.

Woozy, Cameron teetered away from the breathalyzer. Lowering it, the officer ignored the results. Stepping forward, he positioned himself to catch her. Throwing a punch, Cameron found she hadn’t the strength to sustain her fist through the motion. It felt like it broke off her wrist and flew away.

Falling into the officer’s arms, the world fell out from under her.

5. Helmet

Someone is abducting college students, yet no one knows they’re even missing. That’s because they’re still posting status updates, Tweeting trending hashtags, and snapping selfies. Their friends and family don’t see the guns barrels just outside the frame.

Cameron wakes up in a town that’s all but abandoned, apart for the stables filled with captive residents. She needs to figure out what her fellow prisoners have in common, and what their abductors plan on doing with them, while she’s forced participate in their social media schemes.

More to come.

Keeping My Memoir out of My Fiction

Question for writers: do you ever have trouble keeping yourself out of your stories? I do.

Head in a book

Keeping my Memoir out of my Fiction

Whenever I’m writing escapist fantasy, something happens that urges me to bring it back down to earth. My journal makes a compelling argument for its inclusion. My story relocates itself from a foreign land. It’s time frame travels back to the present. Memoir entries sneak into the margins. Mistaking them for notes, I find my private affairs on the page.

Overcome with a compulsion to method write, I draw from life experience. At the expense of the mystery, each line is a composite of my personality. Hoping no one has got my number, I hand my readers all the variables they’d need to do the math. Unrolling secret parchments, I leave them out for the uninitiated to see. Putting my shame up on a pedestal, I invite art authorities to criticize it.

I try to catch myself doing this. I try to spot the lines plagiarized from the other side of my mind, but they’re spaced out. It’s hard to drag the bottom of the text for corpses, the skeletons that once resided in my closet. It’s such a slow process, it’s no wonder my subconscious keeps getting away with it.

Exercising eminent domain, my internal city planner rezones my mental map. Putting my deepest fears in the town square, it gives the bad idea I’m trying to cast out of my mind the key to the city. Polluting my thoughts, it changes the skyline. Soon my enchanted kingdom resembles the streets I always walk down. The population resembles the people I see every day. Reality bleeds into my imagination. Now my dreamworld is no longer mine.

Real people show up for character auditions. Their dress code shows up in my descriptions. Personal ticks preface dialogue that I can’t help but quote verbatim. Sometimes I find myself wondering if I’m a writer or a stenographer.

I try to obscure their identities with accessories. They cast them off as inauthentic. No amount of armor can lock down their limps. No amount of flashy jewelry can bury their body language. No veil can mask their micro expressions. Glasses with plastic noses and mustaches will not spare me from paying likeness rights. The players want to be recognized on the page. I’m afraid that’s the only way I can get them out of my headspace.

The disclaimer will read: all characters appearing in this work are out there among you, any resemblance to persons living or dead is purely intentional. Names have been changed to protect the obvious.

May the class action lawsuit commence.

Face into Book

I’m a closed book until you read my writing. My drawbridge goes down, and I’m open to interpretation. There’s no artistic alibi, no neutral nuance, no subtle subtext to hide behind. All my deeper meanings float to the surface. All my subliminal messages go up in lights. All of my dramatic disguises get outed to the public.

Every quotation mark says something.
Every ellipsis is evidence.
Every full stop is a footprint.
Brail breadcrumbs will take you right up to my residence.

There are too many parallels to the path I walk. Too many telltale signs buried between the lines. Too many plot devices for you to reverse engineer. Too many transparent notions making my agenda clear. You know that I know, that you know, what I want you to know.

Into the Book

Casting myself as the lead is such a rookie mistake. It’s bush league. It’s a noob cheat. Making myself the main character is so first year author, so vanity press, so screenwriting 101, but here I go again.

It happens so gradually that I don’t catch myself doing it. I’m tailoring the hero’s garments to fit me better. I’m relocating them to a climate that resembles my own back yard. I’m limiting their knowledge base to something I can pull out of my own ass. Forgetting what color their irises are, I hit my own with the old eye-dropper tool. Forgetting how they style their hair, I give them the grown up Bart Simpson look that I always wear.

Suddenly my female lead has undergone a sex change. Now all the parts for women have been underwritten. Their nuance gets rounded off, and a set of troupes come to fill the spaces in. My once progressive premise shifts, it’s now part of the problem. My ego demands screen time, and all my great ideas for solving conflicts with words fall by the way side. The violence just keeps finding it’s way back into the script. I keep seeing myself making a fist. I need someplace to put it.

Before long, I’m looking back at myself from the text, in this paper mirror, wondering how the hell I even got there.

The hero speaks in catchphrases I never got the opportunity to use. They lift lines from tell-off speeches I’d never be brave enough to give. Their words strike a balance between cold and charming, with a whit so quick you’d never see it coming. They’re not me, they’re how I’d like to be. Even when they’re down and out, they do it elegantly.

It’s obvious why Dashiell Hammett and Raymond Chandler wrote the way they did. Their detective avatars could be the men they never were. They needed a place to feel secure.

There’s no mystery why this happens. Feeling weak, we writers long for self empowerment. When we feel emasculated, we tell a male power fantasy. When we’re lonely, we fill our dry spells with wish fulfillment. We escape to a parallel universe with a more agreeable set of circumstances. One that’s full of manic pixie dream girls, femme fatales, and sometimes even genuine companionship.

Book Face 2

Someone get this blog entry out of my horror story. Get this coming of age piece out of my sci-fi fantasy. Get this cautionary tale out of my dark comedy. Curb the autobiography. Set the diary at the dumpster. My life story hasn’t been lived in enough to fit in with this furniture.

I don’t want to talk about my circumstances. That’s why I tried to write this story in the past tense. I don’t belong in this universe. That’s why I wrote it in third person omniscient, but the story keeps shifting to try and deal me in.

Here I go breaking my hero’s routine with a break up, flashing back to the moment of impact, as a cheap ploy for sympathy. Underdog established, check. Alright, let’s milk this bit. Now my novella is haunted by the Ghosts of Moments Past. Not sure if I should hire an editor or an exorcist to fix it.

This is not the story I want to be armed with when I’m running the introvert gauntlet of social networking events. It will leave me in limbo at the punchbowl. There are too many personal details, too many big reveals. This pitch would make a cramped elevator feel a little too intimate. It weighs heavy on the tongue, because there’s too much information in it.

There are ballad titles in my chapter headers,
torch songs in place of description,
verses cutting through the prose.
You could practically sing my fiction.

Sad bastard lyrics show up in speeches,
blues structure creeps into the timing,
and no matter how hard I try,
I just can’t stop it all from rhyming.

Okay, so really, we’re going to do this? We’re going to let a character whine about watching a sunset alone, and everyone is cool with that? We’re going to commit to words that we bootleg movies because we have no one to go to the theater with? You don’t think anyone’s going to pick up on who’s really saying this? If all of our characters save seats for their imaginary friends, pretty soon our readers are going to pick up on exactly what is happening.

Now I’m talking to myself and making a record of it.

Of course I'm getting sucked into Stephen King's Doctor Sleep
Of course I’m getting sucked into Stephen King’s Doctor Sleep

I want to use lies to tell the truth, but the truth wills out. A few grains of it become a silo, and there’s nothing left to omit. I can’t distort it, stretch it, or be economical with it. A half truth is a whole lie, and my internal reader knows the difference. Jonesing for authenticity, my reader knows when something has been cut with bullshit, when a pack of lies has gotten into the mix, when an expression has lost its purity, it knows to squeeze the rest out of me. So I over share to feed its appetite. It keeps me honest with its refined tastes.

This compulsive honesty comes at the expense of a clever premise. Naked emotion costs me the storytelling possibilities that come from outside of my own skin. It narrows the appeal down to those who speak the same language of regret. Where a strong plot could carry a reader, I leave it up to a character’s voice to do the heavy lifting. Where a strong conflict would keep the pages turning, the honesty demands that I pause to dwell on how I’m feeling.

I refuse to accept that a fall from grace is a part of the process, that I have to hit a slump to produce a hit, that a downward spiral is a good point of reference. I have too much truth to draw from. My palette is overflowing with it. Quite frankly, I don’t even want it.

I need to learn to lie to myself more effectively. To vent about things that have never happened to me. To smuggle adventure into my tales of woe. To trick myself into writing fabrications with a twinge of authenticity.

When there’s something in my life to dwell on, it has a way of trying to star in everything. It bursts onto the set when it’s not even in the sequence. I can try to hide it in the shadows, but it keeps sliding into the spotlight, stealing the scene every chance it gets. This thought I can’t push out of my mind, is a diva that refuses to go back into their trailer. It wants to keep shooting until we get it right. It wants its story to be known, even if it’s not the one I wanted to tell.

If I could only smother it in makeup. If I could only give it some direction. If I could only fire it without slowing down the entire production.

Enter the PRISM (Audio Short)

IMG_4792

A comedy about what happens when the NSA make the mistake of looking through a writer’s search history.

Spare Your Darlings (Audio Blog)

(Download the instrumental version of the song here.)

This was originally posted on lorenkleinman.com a source of much inspiration. This whole piece is the product of a conversation we had on Twitter. You should definitely follow her at @LorenKleinman

Photo by Keane Amdahl, follow him on Twitter @FoodStoned
Photo by Keane Amdahl, follow him on Twitter @FoodStoned

“In writing, you must kill your darlings.” –William Faulkner

What are Darlings?

When Faulkner says, “Darlings” he’s talking about the poetry that wanders into our novels. He’s talking about the colorful descriptions in our black and white detective stories. The hyperboles that get lost inside our stark realism. The esoteric language that finds its way into modern thrillers.

The Darlings are the details that no one needs to understand the plot. Continue reading Spare Your Darlings (Audio Blog)

Enter the PRISM

This story syncs up with Wizard of Oz.
This story syncs up with the Wizard of Oz, I swear.

The room is dark. The air is thick with a musky scent. The aroma is intoxicating. Not like a fine wine is intoxicating, like chloroform is intoxicating. The fragrance is familiar, but it’s the purest version I’ve ever smelt. It starts sweet, rises to a head, and finishes spicy.

I’d swear I was lying in a fresh meadow, if it wasn’t for the chair rocking beneath me, or the door creaking open on its rusty hinge.

My eyes water through the lids. It’s a struggle to keep them squeezed shut. The odor fills me with each breath. My mind slips. I’m dizzy with pungent petals. The smell clogs my nostrils with sugar, fills my mouth with cinnamon, and pours pepper down my throat.

I’d swear I was buried in a bed of roses, if it wasn’t for the twist ties digging into my wrists, and the footfalls echoing around me.

Continue reading Enter the PRISM