Writing

Essay

The First Time I Ever Got Fired

(Originally published in Angry Thoreauan #27, November 2000)

I was eighteen years old and entering my Freshman year at Rutgers University and already I’d managed spectacular, if invisible, failure financially: In what was to soon become the soundtrack of my life, I found myself submerged in debt, most of it mysterious and vaguely disturbing. I usually chose to not think about it. Since at the time I was in the middle of my own personal Pax Soberia (having had a really disturbing “oh Jesus, that smell is me” revelation recently, inspiring me into my first and last foray into the nondrinking world) I approached this problem of debt with uncharacteristic sensibility, and decided to get a job. Prior to the Pax Soberia I would have spent a lot of time trying to alchemize cash out of used beer bottles and cigarette filters. Newly arrived at the University, I eschewed this standard solution in favor of a radical new one: Get a job. I figured for someone with my personal charm and adequate IQ, earning money would be easy.

Located in the middle of a formless grey cloud I can only refer to as nowhere, my campus was basically a roiling sea of tightly-packed and pressure-crushed Engineering students, and almost nothing else. It was just a big plain dotted with dorms and parking lots, and that was it. There was a Student Center, of course, which boasted video games, a pool table, a Wendys, and a Pizza Parlor. The glittering, oasis-like Student Center bravely employed and occupied about twenty of the thousands of students on a nightly basis. The rest of us had to sit in our rooms spitting at each other for entertainment, or take a six hour bus ride to the other campus, where there were bars and stores and (rumor had it) Things to Do. Or, of course, you could manufacture designer drugs out of the materials on hand (cleaning solutions, toothpaste, couch cushc ions, etc) and get stoned.

Looking back, it isn’t very surprising that my Pax Soberia didn’t last very long.

Buried in the middle of this wasteland, though, was a small grocery store which had refused to sell out to the University when the campus had been planned, leaving it the only non-University building on campus, not to mention the only other jobs on-campus. And Lo! A “Help Wanted” sign hanging in the door on that long-ago September day when I finally woke up and thought to myself, Well, I’ve been here for two weeks, might as well go to a class or get that job, or something.

I showed up and discovered that I wasn’t alone in my desire to work for the grocery store. Dozens of others were there, filling out applications for the fifty hours or so of shifts available. The owners of the store new a good deal when they saw one, and they announced that we would each be assigned a test shift, and that after the week decisions would be made as to which of us would be lucky enough to earn minimum-wage stocking shelves. I took my assigned shift and promptly forgot all about it. How hard could it be to get a job in a grocery store? I’d observed the people who worked in the grocery stores back home and had always assumed their sole recommendation for the job was their ability to show up for it every day instead of killing themselves. I could do that. For a while. Especially since I could already tell that the Pax Soberia was going to end soon; a group of us had been hoarding grape juice from the dining hall, and it was silently fermenting in my closet.

When I showed up for my test shift a few days later, one of the co-owners, a short balding man in thick glasses, greeted me warmly enough and introduced himself as Mike. Mike ran me through my responsibilities quickly: Keep the store clean, stock the shelves, and run the register. It sounded simple enough, and I was encouraged when Mike got into details and demonstrated the first third of my job: Keeping the place clean. Sweeping, dusting, litter-detail — all these things were simple and easily within my (even then) withered abilities.

Mike then tried to teach me how to stock the shelves and freezers. This was more complicated than I would have ever imagined. The sodas in the freezer, for example, were to be stocked in a specific order, in a specific way. Mike showed me twice. Mike’s way of showing me was to perform the chore very quickly, without saying a word, and then turning to me brightly and saying “See?”

Having detected absolutely no pattern to the way he’d stocked the freezer, I nodded enthusiastically and said “Sure!”

Mike stared at me. At first I figured he could smell the ripe funk of my lie, and was simply waiting for me to Do the Right Thing. Then I figured it out: he was just staring. Mike liked to stare. Over the course of the next few hours of my employment, Mike stared at me a lot.

Next, Mike showed me how to work the register. Due to Mike’s habit of staring at me, I’d come to the conclusion that he and the two women he owned the store with were telepaths, communicating mentally. Thus it didn’t surprise me when there was no system of codes or UPCs for the approximately infinite number of products the store sold. Mike cheerfully explained that I would be expected to memorize all the prices of all the items offered by the store (listed in a oft-folded typewritten and hand-corrected booklet), do the tax calculation in my head, and count out the change. Then he stared at me until my hair began to singe a little.

Mike supervised my first transaction, which went fairly smoothly. Then he slapped me on the back heartily and went into his office. I finished out my four hour shift, shook hands with the next person up, thought HAVE A NICE DAY, MIKE really hard in Mike’s general direction, and went home to check on the fermenting grape juice.

The next day, I got a call from one of the other owners asking me to stop by. Figuring that my use of the New Math at the register had netted them big profits and I was about to be offered a partnership, I stopped by later on that day. I was ushered into .their office where Mike and one of the others sat waiting. A check was handed to me, and I was informed that they appreciated me coming in for the one shift, but I hadn’t made the cut.

I was dumbfounded. I’d never been fired before. I’d never gotten a failing grade before. I felt like I was about to cry. I managed to ask what I’d done wrong, in some pathetic effort to salvage knowledge, if nothing else, from this horrible incident.

Mike leaned forward and stared at me.

“You didn’t stock the sodas correctly, Jeff. And I showed you twice.”

I floated gently out of the store like they do in Spike Lee movies, staring down at my first and last check. I was numb. Not only had I been rejected by a dumb, hole-in-the-wall grocery store, but my financial morass had suddenly gotten much, much deeper.

If nothing else, I had the end of my Pax Soberia to look forward to.

Compulsively Finishing

My masterpiece!The other day I was composing a song called Pants Are Death. I had a drum track I liked, a little chord progression that was fun to play, a lead melody line. A few solo licks in there for flavor. And it was fucking terrible. Somehow, all these ingredients, which on their own seemed so cool when I was composing, mixed together into something no one — not even me, its creator — would ever want to hear.

I finished it anyway. Because that is what I do: I finish things.

I don’t know about y’all, but about 95% of the creative endeavors I try fail. Most fail so spectacularly I seal them up inside lead-lined capsules and dump them at sea, where they will be safe from discovery until approximately the heat death of the universe. I suppose I could destroy them instead, but they’re still my creations and I can’t bear the thought of burning them or deleting them using some sort of military-grade hard-drive scrubber. If they’re under the dark waters, slowly encrusted with sea life, at least they still exist in some sort of Schrodinger’s way.

Still, despite this discouraging failure rate, I finish things. As long as they’ve reached some sort of critical mass in terms of length and energy invested, I finish these horrible, horrible songs and stories and novels. I have no illusions. The number of borked projects that can be fixed by pouring more and more words/notes into them is exactly: zero. Zero projects can be saved once you realize they suck. But I finish them anyway, because I must.

I can’t explain why. It’s just conservation: When I’ve already crafted 20,000 words for something and it’s just complete shit, I have a choice: I can have 20,000 words of unfinished, useless shit, or I can put another 10,000 words into it, type THE END, and have a really crappy novella to bury at sea and have feverish, tortured dreams about. I always, always choose the latter. Somehow the time and energy saved just walking away never seems nearly as important as making the time and energy already invested mean something.

I do cut corners. Once I realize that smell that’s making me gag is my own novel, the goal is to finish it. That’s it. This sometimes involves a Plane Crash Ending, wherein all your loose ends and unresolved character arcs die in some horrible accident, leaving you with one solid theme to wrap up in a few hundred words. Sometimes this involves the Aliens Make Cookies ending, wherein you just throw logic and consistency out the door and decide the preceding was some sort of Twilight Zone mindfuck even though there was zero indication of that. Sometimes you just Time Travel to the ending and mention 30,000 words worth of story in a sentence.

It doesn’t matter, because it’s going into the lead-lined capsule, dig?

I know this isn’t normal. Neither is refusing to wear pants, drinking a fifth of Wild Turkey, and waking up two weeks later with a fake ID and a bag full of live chickens in Mexico, but that’s how I roll.

Writing & Superstition

The Mighty PenYou know, I try to be levelheaded and rational. Sure, there are crying jags for no reason. Drinking binges. Days when I build a fort out of my couch cushions here in the Fortress of Somers and refuse to emerge for days at a time, sulking. But, you know, rational. As they say in Singin’ in the Rain: “Dignity. Always dignity.”

In truth, though, I am riddled with horrifying superstitions. The problem is, writing is a semi-magical experience. I have no idea how this thing works. It’s like someone bequeathed me a speedboat in their will and had it delivered to my driveway. The controls are in Chinese and there does not appear to be an engine, yet every time I step inside I somehow get the thing started and magically end up coasting on the water. And, since I am burying myself in an awkward and unnecessary metaphor, let’s also say there is Unicorn on board who is my first mate and speaks English and who can make bottles of Scotch appear magically!

In other words, I have no idea how it works. As a result I live in constant fear it will just … go away.

Every artist in history has that moment, when you look back on their careers objectively, when they lose “it”. When their new work doesn’t have the spark of their earlier efforts. When they start to be boring, repetitive, uninteresting. No one sees it in themselves. There is no warning. It just happens.

This kind of complete lack of control over your own brain chemistry and the ongoing massacre of cell death in my brain makes me superstitious. I write in certain ways, at certain times, using certain materials not because of any real physical advantage, but because it’s how I’ve been doing it since I was 11, and if I change it up now, I might destroy this fragile mysterious thing that keeps giving me ideas.

I have made adjustments from time to time; I’m not completely insane. Just partially insane. I used to write all my long pieces on an old Remington manual typewriter that dated to the 1950s, but I haven’t used it at all in about 7 years, finally bowing to the modern world and using a word processor for longer pieces. I still write my short works longhand in a notebook, however. Although recently I did do the unthinkable and switch pens.

That’s right: I switched pens. And sweated the consequences.

For years, I used a Paper Mate blue pen. White body, blue cap. I bought them in packs of 10 and invariably the last two or three were more or less useless by the time I got to them I could only write my short stories using these pens. Why? Because those are the pens I chose in High School when I started writing short stories out longhand. For 25 years, I used those pens, despite the fact that, frankly, they suck. They dry out fast, are inconsistent regarding ink color and smoothness, and hurt my hand when writing. But the unseen and possibly imaginary gods of writing that I feel staring at the back of my neck required these pens, so I stuck with them … until about 6 months ago, when I switched to Bic Velocity Gels.

Still blue ink, of course.

You may laugh at me and wonder at a grown man who worries about such things, but frankly I was pretty sure the ideas would stop immediately, and I’d have to go into my plan B career: Rodeo Clown. I had the Clown College application filled out and everything. But so far, so good. Lord knows we won’t know if any of these stories are any good until someone else actually reads them, but I’ve written six of them so far with the new pens, and that’s something. Don’t mock me.

Lifers

Lifers by Jeff SomersIt occurs to me that it’s been 10 years, more or less, since my first novel, Lifers, was published. Originally written in 1997, Lifers is the sordid tale of three young men who plot to rob the office where one of them works, more as a rebellion against settling into maturity than anything else. It’s not a very long novel. It doesn’t have a happy ending, really, though there’s no tragedy in it. I didn’t have an agent back in 1999 when I started shopping the book, so I went through The Writer’s Market and just mailed a query and/or samples to any publisher who would look at an unsolicited submission.

I heard back from an outfit called Creative Arts Books out in California, a small press. They sent me your standard subsidy-publishing ambush. Nowhere in their listings did they call themselves a subsidy/vanity publisher (and I believe for a long time prior they actually had been a traditional small press), but suddenly they were offering to “publish” my book for a fee. Despite being young and agentless, even I was not stupid enough to fall for that. This was actually the third time I’d been ambushed by subsidy publishers – twice before I’d sent a query off to a company that made no mention of vanity publishing, only to get what I’ve come to call the “In These Difficult Economic Times” letter, where they claim that it is no longer possible for a small press to publish new authors unless the author is willing to pony up part of the printing costs of the book. Sometimes they offer you a bigger royalty as a carrot in this deal, but the fact is once you pay for the printing of the book they’ve actually already made a profit off of you, and therefore have very little reason to market or even distribute your novel.

So, I told Creative Arts to fuck off. No, really, I did. I wrote them a letter back saying fuck off, burn the manuscript, you suck.

(more…)

Ask Me if I Have a God Complex

“You ask me if I have a God complex. Let me tell you something: I am God.” – Alec Baldwin as Dr. Jed Hill, “Malice“.

I was chatting with another author about a work-in-progress the other night. This is unusual in that I a) dislike people and b) dislike other authors almost on sight, as a rule. Well, dislike is the wrong word; there are actually quite a number of other writers I like just fine, and a few I even enjoy. Don’t tell them, or they’ll start expecting me to pick up bar tabs.

Anyways, this writer – we’ll call him Mr. Bean – was asking me my opinion of the ending of his work-in-progress, which amounted to what I like to call a Titanic Ending: You’re tired of writing the damn story, so you just steer for an iceberg and let it sink. I told him so, and after an awkward pause he confessed he had another idea for the ending. He told it to me, and it was so much better I physically assaulted him. After we convinced the waitresses at Stinky Sullivan’s in Hoboken to release us and promised to pay for the broken table, I bought Mr. Bean another whiskey and asked why he was not going with the clearly superior ending, which had actually been his original intention.

He said it was a simple matter of mechanics: Earlier events in the story had precluded the ending, made it impossible.

So, I hit him again. Don’t writers realize they are gods in their own universes?

You can do anything in your story. Halfway through a historical novel set in Edwardian England you can have aliens show up and start melting brains. If you’re writing a locked room mystery, you can go back to chapter 1 and insert the innocuous clue that makes everything fall into place. Jebus, within the confines of your story you can make anything work. It’s like the Reverse Chekov’s Gun Principle: If suddenly realize you need a gun to go off by the end of your story, go back to chapter 1 and put in a damn gun.

It is surprising how many writers don’t seem to realize this. You are writing fiction. You are, in scientific terms, making shit up. If a detail you invented earlier doesn’t work, go back and change it.

Unless you are, as I notably am, lazy. My biggest dread when routing a new novel is the terrible Logic Revision, wherein someone notes either a major flaw in logic (e.g., “How come the hero didn’t just use his magic flying shoes to escape the prison?”) or introduces a brilliant suggestion that makes my storytelling seem like the work of drunken moron. Er, more like the work of a drunken moron. Shut up. These sorts of suggestions require major surgery, months and months of chaotic, confusing revision that sees me trying to salvage as much of my previous work as possible, papering over problems with paragraphs of new text, and sleepless nights until I finally realize I’ve made a mess of it, burn the manuscript in a drunken revel, and then burst into tears when I remember that this is 2011 and burning the manuscript doesn’t do anything except set off the fire alarm and summon my wife The Duchess, who then hides all my whiskey bottles.

However, when I wake up hungover and bleary the next day, I always realize that I am, after all, god in this little written world. I go back and start over. And I can always make it work, because I can change the fundamental truths about my world. I can make things appear and disappear. I can change the history of a character. I can introduce new people who never existed before and delete others from the world so thoroughly they are burned out of the pattern, so to speak. The dreaded Logic Revision hurts, but it isn’t anything that can’t be accomplished with some concentration and hard work. Any writer who retreats from a good Logic Revision deserves to have their novel sit in a metaphorical drawer, never to be read.

The ancillary rule to this is simple: The less you want to do the revision, the better the revision probably is. When I get feedback and my reaction to suggested revisions is a shrug and a vague determination to, sure, why not, do it someday, then that revision is probably just polishing the silver. If my reaction is to drop to my knees and scream out a good old fashioned do not want to the universe, chances are the suggested change is going to make me famous when I win some sort of book award. If I wrote the sort of books that won book awards, instead of just jealous emails from other writers at 3AM. You’re all jealous. I can feel it.

Someday, when I am rich and powerful I will force the publishing overlords to publish my novels straight from my zero-draft file. All logic gaps and misspelled words will be “poetic license”. Even if I’ve combined two completely unrelated stories via the simple technique of pasting one file onto the end of the other, they will print it! Oh, the day will come, my friends. Until then, I revise, and I am god.

The Inner Swine on Kindle

The Inner Swine Volume 16, Winter 2010I’ve been putting out my zine The Inner Swine for 15-17 years, depending on whether you count its inception from the date my original collaborators and I got together to discuss putting out a magazine or the actual release of issue one, by which time I’d taken over the magazine all by myself. I’m closing in on issue 60.

Over the years I’ve released plenty of Inner Swine material electronically, mostly for free. PDFs of just about every issue are up on the zine’s web site for free download, and plain-text files of some issues are also there. I still do a print run of each issue for a mailing list of subscribers and traders. Recently, however, I’ve been thinking that a formal digital edition of the zine might be a good idea. So I finally sobered up for a day and created a Kindle Edition of the latest issue (Volume 16, Issue 3/4, Winter 2010) and put it up for sale on Amazon for $0.99. NINETY-NINE CENTS! Yowza.

The Kindle edition doesn’t have any images in it, because a) images on the Kindle are a pain in the ass and b) some of the images that make it into the zine are not, shall we say, vetted by my copyright lawyers. It’s a zine, after all. The copyright lawyers for my zine are a tiny leprechaun who sits on my shoulder and sings sea shanties into my ear all day and my cat Spartacus, who uses a thick book of copyright law as a scratching post. The Kindle Edition also has no advertisements in it. It’s just the text, baby. Other than that, it’s exactly the same: Every word that’s in the print edition is in the Kindle edition. It’s ~45,000 words, which is novella-sized.

Right now it’s set up as a standalone publication, not a series or periodical. There’s no DRM and it’s set to allow lending. I’m learning this as I go, so if you do grab a copy, all feedback is gratefully accepted. Let me know if I can improve the formatting or do anything else to make it a better product.

Thanks! Remember, I’ll make $0.35 cents on every issue. THIRTY-FIVE CENTS! Every five issues sold buys me a bottle of Thunderbird with change back!

Complete Lack of Control

One of the interesting (to me) aspects of the Writing Career is the contrast between the complete, autocratic control you have over your work when it’s private, sitting on your computer or in a notebook or, god help you, in your head, and the almost total lack of control you have over many aspects of it once you sell it. Since selling your work is usually a goal of most writers (though not all, of course), it’s interesting how unprepared most of us are for the transition from being a the god of your particular written universe to being a pawn in the game of life.

Well, it’s not that bad. My limited experience with publishers is that a) they don’t buy books they don’t like, so selling your novel and then being told it needs more teenaged vampires is a pretty rare occurrence and b) they genuinely love the books they buy. Some writers worry that they’ll sign the contract and their editor will suddenly sprout demon wings, grow three times in size, and with a burst of hellfire inform them that now they will revise the novel to include thinly-veiled Scientologist themes as they laugh manically. This almost never actually happens.

However, the aspects of the book publishing experience that the author usually indeed has no control over can be a little disconcerting. When I was a wee Somers, writing 30-page fantasy epics with titles like War of the Gem, I drew my own covers. Like this one:

The War of the Gem Book 3: The Dark Tower

The War of the Gem Book 3: The Dark Tower

Jealous? Yep, I bet you are. Bet you can’t believe I was nine when I drew that. I’m also surprised I didn’t go into cover design as a career.

Then you grow up, sell a novel for money, and suddenly you’re not allowed to make your own covers any more. I mean, I showed Orbit Books the above cover and thought, well, here we go: They’re going to ask me to do all of their covers now and I’ll have to turn them down gently. Instead, I never heard from them about it. It’s like they pretended not to have seen it. Bastards.

The author’s almost total lack of control over the cover of their book is disconcerting, at least until you see the awesome covers they actually design for you. Assuming you’re lucky like me and have awesome covers. Lauren Panepinto did her Cover Launch post for The Final Evolution over at the Orbit web site today. I know I’ve posted the cover here already, but go check it out and let Lauren know she’s amazing:

http://www.orbitbooks.net/2011/02/14/cover-launch-the-final-evolution-by-jeff-somers

KGB Lit Interview

As I am a very famous and important person, The KGB Bar’s online literary magazine has interviewed me:

“As I’ve gotten older I have become increasingly aware that my development as a person really did freeze, in some senses, when I was much younger. A love for simplistic power-punk music. A sincere belief that flannel is an acceptable fashion choice. A refusal to watch DVDs coupled with a romantic love for serendipitously finding a beloved old movie on television. A child-like distrust of vegetables or, for that matter, any food that I have not previously consumed and survived. The themes and tropes I explore in my writing haven’t changed so much either.”

Check it out!

Ask Jeff Anything 1-5-11

After a hiatus imposed by all the More Shit I Gotta Do, we’re back with answers to your questions! And by “we’re” I mean “I am” in the royal sense. Because I’m the king of rock, there is none higher, Sucker MC’s should call me sire. To burn my kingdom, you must use fire, I won’t stop rockin’ till I retire. And also, look for a quick cameo by Spartacus the Cat, incensed that I spent a few minutes paying to attention to something that is not him. Little bastard.

http://www.youtube.com/watch?v=NVANxAaBoc0

Holla!