Aug 01

The First Employee at Chrysan Industries

One Saturday in November 1977, I was bending over the sink in the tiny lab cleaning the beakers for the next experiments.

“Bang, bang.“

Loud knocking sounded on the front door of the plant from outside on Mt. Elliot Street.

Mmm, on Saturday morning?  I wasn’t expecting anyone today.

Wiping my hands on paper towels, I hesitated for a few minutes before opening the door.  Open the door?  No.  Open the door?  No.

The plant was located in the industrial zone on the east side of downtown Detroit.  Even if it was in the industrial area, safety was a big concern.  Recently we had a couple of instances.  One was when I parked the car on the street in front of our building and all the hubcaps were gone in a couple of hours.  Another instance was that a lady’s handbag was snatched by a couple of young men while she was pumping gas into her car at the gas station on the corner of Mt. Elliot St..

“Bang, bang, bang, again.“

I peeked through the small glass window.  There was a man wearing dark navy blue overalls with a brownish straw hat.  Without considering the consequences I opened the door spontaneously.

He introduced himself as soon as he entered the building.  “ My name is Willie Fagan.  Joe Brown, my brother-in-law, told me that you are looking for a worker for the plant.“

What a memory I had!  I was getting old.  I totally forgot that I mentioned to Joe that we needed a cleaning crew at the plant.  The pounding of my heart from fear slowed down and a warm smile spread over my face, and his too.

“Come on in, Mr. Fagan.”

He sat down across the desk from me and I could see his huge dark brown hands with big knuckles.  He weighed over 250 pounds.  His strong body fully occupied the small wooden chair.  He could easily have knocked me down to the floor, if he wanted to.  Even though the rhythm of my heart reduced, the tension between us remained.  He was told by Mr. Brown that an Oriental woman might be his boss, but nothing more than this simple information.

I explained to him about our lubricants business in drums and tankers and that our potential customers could be the auto industry.  In order to avoid contamination of other chemicals, the tools, equipment and containers should be as clean as our kitchen pots and pans.  It seemed that he understood my expectations clearly.  He sat calmly, nodding his head and blinking his big eyes.

“Mr. Fagan, of course, the plant floor would also need to be cleaned,” I added.  Then I gave him information about the wages and continued, “As you know, we are a start-up company and we cannot provide benefits, like health insurance or pension program.”

With a pleasant and unique smile covering his face, Willie said, “Miss Koo the wage is good enough for me.  I do not need any benefits, since I retired from the Chrysler Jefferson Assembly Plant a few months ago”.  For a few moments silence occupied the space, then I told him, “Thank you, Mr. Fagan”.  I was completely comfortable with him and the fear that I had experienced before opening the door had totally vanished.

“Miss Koo, I will keep the tools, equipment and floors as spic and span as your kitchen.’’

He began to work the following Monday as the first employee in Chrysan Industries, Inc.’s history.

Jul 24

Curse-ive Writing

Have you ever been reading a book and been jarred by the use of a curse word?  While I believe that swearing is something to avoid as a matter of personal virtue, I understand the dramatic effect and occasional necessity to a storyline.  However, sometimes the use of curse words doesn’t fit with the story, or character, making it come across as more out of place than your maiden aunt in a mosh pit.

When deciding if a curse word is appropriate, try thinking about two things.  One is the background of the character.  For instance, how would the character’s mother react upon hearing her child swearing?  Would ‘conniption fit’ describe her as she got out a bar of soap to teach the kid a lesson?  If so, your character is not likely to use swear words easily, even as an adult, with the taste of Ivory soap lingering in his memory.  Is the mother not around or doesn’t she care what the child said?  In this case, it’s quite possible that using expletives has become second nature to your character.

The other thing to think about is the situation.  Even a character living with flashbacks of soap dinners can be in a circumstance where a curse word will slip out.  Someone pushed to an emotional breaking point can let loose words she never thought she could.

There’s a great scene in the movie Speed (1994, screenplay by Graham Yost) where you can see this playing out.  Keanu Reeves, as Officer Jack Traven, is hanging through an access panel of the floor of a bus to check out a bomb that could blow him and the passengers up if the vehicle falls below 50 miles per hour.  Alan Ruck is Stephens, a passenger using a cell phone to act as the relay for a conversation between Traven and another officer.  After describing several aspects of the bomb, Traven reacts with a phrase that includes the ‘F’ word.  Stephens’ reaction is hesitation and then to translate it as “Oh darn.”

Traven’s outburst is situational from seeing “enough C4 on this thing to put a hole in the world.”  In light of this, any resistance he may have to swearing has broken down.  On the other hand, Stephens doesn’t know about the C4 and hasn’t reached that point.  He grapples with repeating the phrase then settles for something more compatible with his state of mind.

As people ‘mind their manners’ in everyday life, it’s up to you as an author to mind the manners of your characters.  Making the dialog realistic to their temperament and situation is important when using curse words.  Considering the impact of these expressions, tread carefully.  Your character’s mother may be watching.

Jul 23

Plot, Plot, Plotting Along

An architect needs a solid plot of land to build his house. Only a plot can render a view. All of the detailed plans and beautiful drawings are just pretty pictures without it. The same can be said about all fiction. No matter how well rounded and sympathetic – or just plain pathetic – the characters are, if the story isn’t built on solid ground, it won’t stand upright when finished.

Any story can carry tension, from a school girl’s pimple on a first date to a megalomaniac’s rise to infamy. What makes any fiction interesting is how events unfold, how the heroes conquer any obstacle thrown in their way. That’s called a Plot. Let’s build a simple suspense plot that anyone can relate to.

Our protagonists, Auggie and Clair Knight, have been filing taxes on time and more-or-less correctly all 15 years of their marriage. Our story is about the Knight’s audit.

We’ll use Gustav Freytag’s Narrative Structure and his five parts to a plot to construct our story. They are:

Exposition
Rising Action
Climax
Falling Action
Denouement

In the Exposition, we draw out the motivations and goals of our protagonists. We learn the Knights are just barely getting by on Auggie’s day job as a security guard at the marina. We get a sense of what might happen if he lost his steady income, or the home’s septic system backed up again. Exposition rounds out the main characters and gives rise to the inciting incident, that one event in the story that throws down the challenge.

In our story, the Rising Action begins when the Knights get an audit notice in the mail. Tension is introduced when Auggie can’t find some of the receipts the IRS has asked him to produce. More tension comes when Clair, an accounting grad who’s done their taxes all these years, reminds him that they’ve never reported his moonlighting income from helping friends sell boats on eBay. Some years, that amounted to $4,000 of extra, undeclared income.

The length of your piece gets determined right here. If you want a longer story, you could, for example, introduce an antagonist. Say, one of Auggie’s boat buddies or an old college pal of Clair’s. But we’ll keep this story short. You – the writer – continue to pull the threads tighter and tighter as Rising Action builds towards the day of the IRS audit. Let’s say you paint the protagonists in the beginning as mostly likeable characters. Their only real flaw is a little cheating on their income taxes. Auggie and Clair trod along, blissfully hoping the IRS doesn’t know about the boat sale commissions. The closer they get to that date, the more the Knights learn of the dire consequences they’d face – huge fines, penalties, possibly jail time and certainly a federal criminal record – if they got busted. None of which they can afford, and Auggie reminds her that he can’t hold his security job with a federal record. The Knights try to stay calm on the surface, but they worry and act nervous. Their tension increasingly rubs off on their relationship with each other, with their kids and the rest of your characters.

Freytag’s third element of plot is Climax. In our story, that would be the IRS audit. The Climax should be confrontational, a spell-binding scene that is both drawn out and shattered into sharp shards of action. This is not the end of your story, and far from the end of the action, but it should be your most realistic, best drawn scene in the story so far.

Then the author introduces the twist. Say, a slip of the tongue by Clair about how easy it is to sell stuff on eBay. This raises the IRS reviewer’s eyebrows, and both Auggie and the reader see it.

The Knights are only too glad to pay $124.50 for the few receipts they can’t produce and get out of there as fast as they can. Clair and Auggie high-five in the car and start to think they’ve dodged the bullet. They start laughing about it and bragging to each other how easy that had been. The reader feels for them, one way or the other.

What follows the Climax is called the Falling Action, and this where your story can take several twists and turns with the events you first brought out in the Exposition. Falling Action can take any direction the author likes so long as it advances the story forward.

This is the real fun stuff to dream up. Say, our heroes celebrate that night in a fancy restaurant and then get all lovey-dovey after the kids go to bed. Three days later Auggie comes home and tells Clair he’s just had the best day ever at work. Clair tells him that the septic’s just backed up into the kid’s sandbox again. Oh, and they got another IRS audit letter. This one for unreported income. Later that night, Auggie freaks out when he finds himself locked out of his eBay account. The Falling Action is the back-and-forth between winning and losing battles with all of these elements, with the ever-present IRS always looming. Our heroes fight on through the Falling Action to eventually claim victory over some, if not all, obstacles. Or they get their due comeuppance on every turn of the page, or Auggie gets very foggy and Clair becomes very clear, depending on which way you want to say goodnight to your readers.

Caution: don’t let any of your subplots take over your story. Resolve all of them, but always stay focused on the main event.

The last part of Freytag’s structure is called Denouement, or the finale. This is where all of the accomplishments of the story are summarized. If the author has done his job right, in suspense anyway, Denouement is reduced to a page or a paragraph. Why? Because all of the accomplishments will have already been shown in the Falling Action scenes. There’s no tension left, just afterglow. In our story, that would be Auggie and Clair sitting on the pier toasting warm beer under a starry night and saying it could have been worse. Period.

There’s one plot line, start to finish. Just flavor with mouth-watering prose, give it a tasty title and a satisfying ending. Let it stew in suspense for a few thousand words and you’ll have it.

Freytag’s formula is not parsed equally. In all my writing, Exposition is painted with a wide brush and is never more than 10% of the story’s length. The details of these broad strokes come out in the Rising Action, which is about 40-50% of what needs to be said. The Climax is about 2%. Falling Action is usually another 40-50% because all the Exposition and conflicts created during the earlier parts now need to be resolved. Anything not resolved by this point is Denouement.

Think of our architect friend presenting the keys to this great house when finished, after every detail has been polished. If the plot is beautifully landscaped, then what more could he possibly say?

Next Month, Minutiae. ‘Nuff said.

Note: from August 1st through August 7th, Amazon.com is promoting a sale on my two novels in their Kindle bookstore. This is a great opportunity for those who likes to e-read fiction to save a couple of bucks. Both Seoul Legacy, The Orphan’s Flu and The Freya Project will be available that week for just $0.99. (67% off Retail of $2.99) So, please tell two friends to tell two friends to tell two friends. You can read the synopsis (Amazon’s “Book Description”) by following the links above. Please note this sale is on e-books only. First edition print books are also available through Amazon. Since all print versions come from BirchwoodBooks.com, I’ll be happy to sign or personally inscribe any orders for print. Enjoy! –Phil

Print books:
Seoul Legacy, The Orphan’s Flu (trade paperback)
The Freya Project (hardcover, trade paperback, ltd. ed.)

Jul 21

Why Go to Switzerland?

Just as suspense keeps a story going and your audience interested, there comes a point when you have to tell them what happened. You have to answer the questions you’ve implied or asked directly earlier in the piece.

Why did Abram insist on stopping off in Switzerland first and then coming to America second? The world was at war. He was in Beirut, Lebanon. Switzerland was a long way away. The Nazis controlled many of the countries he would have to pass through and he was a Jew. All good reasons, I would think, to come to America immediately now that he had the Visa and could do it. There was nothing more to wait for.

The excuse he gave my parents and grandparents doesn’t make sense. He needed to stop off in Switzerland first because he had some medical problems. After the Swiss doctors helped him, then he would come.

The world was too dangerous for him to make a stop like that for health reasons. The chances of him being killed were too high. There were plenty of doctors in America he could see after he arrived. No, I believe he had another, much more important reason for going to Switzerland first and then coming to America.

Abram had been a very successful businessman. He grew up in Bucharest, Romania. Later, after he became head of an Italian-American shipping line, the King of Italy knighted him. He was important and wealthy. He was also very generous with his family. He took care of his mother for many years, supporting her in Bucharest and later moving her to live with him in Constantinople (now Istanbul).

Abram was also very generous with his oldest sister, Clara, my grandmother.  World War I ended on November 11, 1918. Abram came to San Francisco sometime in 1919. He invited Grandma, Papa, my Mom and Maximillian, his younger brother who was traveling with him, to travel around Europe for a year, visiting family and seeing the sights.

Everyone was thrilled at the opportunity. From the stories my Mom tells, they had an absolutely marvelous time! They started by taking the ferry from San Francisco, across the Bay to Oakland, where they caught the train to New York City. From there, they sailed on the RMS Aquitania, one of the most luxurious ocean liners of the time.

Mom was six and Maximillian sixteen, not exactly a child but not all grown up either. He used to take her to the park, the circus and out for ice cream while the adults went to shows like the Folies Bergère or out for drinks.

They traveled to France, Switzerland, Rumania and Turkey. From my Mom’s stories, Paris was one of the highlights of the trip: the Louvre, the shops, the people, and the atmosphere. I grew up always wanting to go to Paris, walk down the Champs-Élysées and see if it was as wonderful as she said. It is!

At some point they took the Orient Express to Constantinople. The trip took 80 hours—three days, eight hours. They had a sleeping car and ate in the dining room. Mom talked about how exciting and wonderful everything was!

They stayed a while in Constantinople visiting family. Mom became fast friends with her cousin, Eva, who was about the same age. I’ve seen pictures of them standing together, dressed the same—two cute six year olds with smiles from ear to ear.

Later they went to Romania. One night there was a birthday party at Papa’s mother’s house, with lots of singing and dancing. The highlight of the evening was Papa dancing a Viennese waltz with his mother on her 80th birthday. Many people had tears in their eyes.

Then, in 1929, just before the Stock Market Crash, Abram came again to San Francisco to visit. He also brought Maximillian. Mom was now sixteen and Maximillian twenty-six. Soon they and Grandma and Papa were off for another year in Europe, traveling and visiting family.

Mom had just graduated early from Lowell High School so she could make the trip. When she came back a year later, she started college at the University of California in Berkeley.

When I think about this, it seems clear that Abram was a very generous man, who was also well off, and was happy to share his good fortune with his family. I also think, like many other well off Europeans of that time, he put his money in Swiss banks. It would be safe and secure and the Nazis couldn’t touch it.

When my Dad got Abram the American Visa in 1941, and let him know that the family in America would take care of him, Abram must have thought, I’ve got money in Switzerland. There’s a war going on. Hitler may win. I may never be able to return to Europe. I need to take it with me.

There were no computers in those days. Abram couldn’t just go online and transfer his money from one bank or country to another. He must have found it hard at that point in his life to leave all his wealth behind and be dependent on his America family for the rest of his life. Why not try to bring it with him?

Considering all the odds against him, I don’t know how he thought he could do it. He did know a lot of people and maybe he thought some of them might help him. He spoke a number of languages and he might have thought that would help too.

Abram’s always sounded like a very optimistic person; someone who believed they could succeed against all odds. It must have been awful for him to come so close, Trieste, less than a day’s travel from Geneva, only to be captured. I can’t imagine what it must have been like for him when the Nazis took him off the train and to the Savoia Hotel, where he’d lived for so many years. Did he think he could make some kind of arrangement with them until the very end, or, once they took him off the train, did he know it was over?

If my interpretation is correct, what happened to the money? Abram was murdered in his hotel room at The Savoia Hotel in Trieste, Italy sometime in late 1941. He never made it to Switzerland. So he was never able to send his money to America.

For that answer, you’ll have to come back next month.

Jul 18

Yes, you can publish a book

My thoughts on self-publishing

 

What is stopping you from publishing your book?  You are.

I have self-published two books so far, and I am thrilled about it.  With the introduction of eReaders, writers have complete freedom in their craft.  You have the ability to post anything online through a blog and various social media, and now you have the socially-accepted ability to publish a book.  But that was not always the case.

As recent as 10 years ago, the only way to buy a book was as a printed copy in a brick-and-mortar bookstore.  The only way to get your book into those stores was to sign a contract with one of the traditional publishing houses headquartered in New York.  These companies controlled physical book distribution, and they didn’t make the process of acceptance easy.  Even with well-crafted query letters and strong sample chapters, you still needed a smidgeon of luck that your manuscript found its way to the right editor or agent to believe in you.  If you made it through that professional vetting process, then you had the validation of being a “real” writer.

If your work wasn’t good enough to be accepted by the industry, then the only way to get your story to readers was to fake professionalism.  You had to print it on your own, with the stigma of “vanity press” trailing your byline.  I believe that was a phrase created by publishing houses.  If you had to print and peddle your wares yourself, then you weren’t a professional writer.  This legitimized publishing houses and enhanced their aura of attraction.  Without any sense of quality control or standards, what was there to keep the sludge out?  Such a book was an ego trip, and the only sales would come from family and friends.

On a base level, I understand that perception, especially after my experience at a 1998 independent publishing convention in New York City.  Unknown authors sat at tables just as if they were at a real book signing, so I figured there must have been some judging or invitation to be there.  I came across a hardback book with a colorful cover protected by a clear plastic slipcover.  It was a subject I was interested in writing, so I bought it.  Anyone who looked good must be good.  However, after reading the book, I learned that if you flip to a random page, any page, you will come across a grammatical error, a spelling mistake or a bombing of the F-word.  I’m serious.

No wonder people didn’t trust vanity press authors.  How could you tell a skilled writer from a sloppy ego trip?  Anyone can slap pieces of paper between a sturdy cover; professional-looking photography on the outside doesn’t guarantee that editing and grammatical care was taken on the inside.  I fell for that with the college book.  For all I know, those writers paid to rent table space, so anyone with money could have been there.  Reputable publishers guaranteed those services and more, so you took your chances with independents.

I didn’t have extra cash to toss around just to be labeled a phony.  If I wanted legitimacy as a writer, I would have to play the publishing lottery.

Now welcome to the brave new world of indie publishing.

“Vanity press” fades into obscurity as “self-publishing” gains legitimacy through e-pioneers like vampire series author Amanda Hocking , fantasy writer H.P. Mallory  and mystery-thriller author J.A. Konrath . Self-publishing is now a viable, accepted method of getting books to readers, especially with the popularity of eReaders.

Self-publishing gives anyone the opportunity to be a Published Author.  Young or old, newbie or established, there are no arbitrary opinions guidelines to keep otherwise-successful writers out of the market.  There are no external factors in this enterprise.  No one is sandwiched into a particular subject matter because new genres are created all the time.  Established genres are combined.  There is an outlet for niche topics directed at specialized audiences.  Story length is not limited to traditional page counts. These fringe elements, un-tested and un-proven as even mildly popular, are things traditional publishers would never touch. But you can.

Anyone can be a fantastic storyteller.

Now we can legitimize ourselves.  All writers have egos.

With such ease, there is still that initial concern: how to navigate through the slush to ferret out the gems.  Well, how do you do it now?  When you walk into a bookstore, what do you gravitate towards?  Is it a particular genre, the bestsellers, the sale items or the staff picks?  What makes you pick up a book: cover art, the subject material, the title or reviews and recommendations?  Online browsing is no different.  The book’s “back cover” summary is listed above the reviews.  Just like flipping through pages in a store, many writers offer the reader a sample to download and preview.  Ultimately, you don’t know how good a book is until you read it, just like any traditionally published book.  What is “good” and “bad” is subjective, but now you have more options, authors and books to discover.  It is more likely you’ll find a story worth reading, one you’re interested in.  This is a good thing.  It’s a great thing!

Given that, does a publishing house matter?  Nope.  Readers do not need publishers for distribution because eBooks are available electronically.  I’ve always bought books based on my interest, not the publisher.  Quick, without looking it up online, who publishes Stephen King?  Dean Koontz?  Danielle Steel?  Nora Roberts?  I find that people are brand-loyal with dishwashers, coffee, laundry detergent, cereal and soda pop, but not books.  Think about movies.  Have you ever heard anyone say, “Oh, I won’t see that movie because it’s not produced by 20th Century Fox.” ?  In fact, it’s an honor to have your film selected for the Cannes International Film Festival.  Is that called “vanity filmmaking”?  Many unknown filmmakers are introduced there because artistic quality (good storytelling) is the key there, not the big-name directors (best-selling authors) financed by big-name production studios (publishing houses).

Some writers need that perceived validation.  Some may not want to be involved in the details of work outside of the actual writing.  That’s personal preference.  I’m not one of those people.  I prefer the creative freedom.

Think about it.  You create the cover art you want.  You choose your editor, or make the decision not to use one.  There are no printing costs outside of any print on demand (POD) because publishing is electronic.  You set the price, and you can change that any time and as often as you wish.  At this time, royalties are higher than with a traditional publisher so you earn more money.  You can upload a story of any genre or any length because today’s readers accept both.  You publish on your schedule.  You can upload new versions at any time, thus customizing or updating content.  All it costs you is your time.

Note the theme above?  It’s control.

For all those reasons, I chose to self-publish.  Why not?  As of this post, I have two books available on Amazon.  At short stories that are 21 pages each, no publishing house would waste the ink and dead trees.  I don’t blame them, and I don’t fault them, so I took the power and launched them myself.

Remember that ego thing I mentioned earlier?

Does self-publishing my work–the lack of a traditional publisher– make me less of a writer?  Does having a book in print make me more of one?  I don’t think so, but it’s a fun thing to do.

So far, my self-publishing journey has been a positive one.  I hope you’ll follow me along this adventure because this is not the end.  I’ll continue to share my experiences.  Feel free to share yours in the comments below.

Will I be successful, whatever the definition of “success” is?  Would you be?  How will you ever know if you don’t try?

Nothing is stopping you but you.