I’ve spent far too much time at Guitar Center in the last few days, and too much time at UPS in the last week or two. I’m in the middle of a long bass guitar arbitrage situation that will eventually end up dropping two (or three) basses and netting another two.

First was the massive pedalboard sell-off.  I use a Zoom B3 multi-effect for everything and love it, so the idea of having a pedalboard and a bunch of effects pedals was silly, and it sat in the closet for the most part. I listed everything on talkbass, and sold them off, one-by-one.

My goal was to part out my main bass, a Fender Jazz I built from parts, selling off the aftermarket bits and putting back on the stock parts, which I kept, until I eventually could dump the bone-stock version. I took off the hipshot detuner, and I also took out a set of EMG pickups that were in an old starter bass, and those went.  That’s about a dozen trips to the PO total, although I did chunk a few together.  The Jazz bass still has a high-mass bridge, very nice Nordstrand pickups, and an Audere preamp.  Those will go in a bit.

I then scored the pieces to my next Jazz bass build. A guy on talkbass sold me a Road Worn 50s-reissue Precision bass neck, in maple. And I scored a 60s-reissue Road Worn Jazz body in Fiesta Red on eBay.  Put together, they will make a very light, very vintage-looking bass with lots of fake mojo.  The Road Worn thing is sort of a gimmick; they relic off some of the paint, and age the hardware with some acid so it looks all rusty. It’s like buying pre-ripped jeans, which is sort of silly. But the secret of the Road Worn is that they use real nitro paint, like the old days, and not the super-thick, super-glossy stuff that doesn’t kill spotted owls or whatever. And they kiln-dry the wood longer, so it’s got the light weight and deep sound of an old bass.  And you get the shape and controls and contours of the old stuff.  So those parts are in the mail, and I may have pictures later in the week there.

On Friday, I rewired the Ibanez that gave up its EMG pickups, and brought it and my Schecter to Guitar Center for a trade-in.  This took forever.  They are nice enough there, but they’re always understaffed and overworked and doing nine things at once, so it’s a wait.

I didn’t feel much remorse about the Ibanez, even though it was my daily driver for about a year, and it’s a nice lightweight bass and looks decent enough.  The neck is thin and fast, but not perfect, with lots of fret sprout and some unevenness.  The Schecter I was more conflicted about.  It’s a very nice-looking bass, mahogany wood with a satin black finish. It’s well-balanced, a very smooth neck-through that feels great, and it looks awesome. It’s a 35” scale, and has a great sounding B-string for a 5-stringer.  But it’s got a thin neck with narrow spacing, and I just couldn’t deal with it.  It wasn’t getting played. So, time to go.

I ended up swapping the two, and ordering a Warwick. They didn’t stock them, and it got back-ordered.  I really wanted one, but I didn’t want to wait a month (or two, or three) and was dead-set on either getting something in-store, or at least something GC had in-hand. So I went back the next day to cancel the order, and play everything in the store a second time, and maybe pick something out.

A general bulleted list of everything I argued about mentally while they were taking hours to do my paperwork:

• I played a couple of the Epiphone Toby basses and their necks were surprisingly smooth for a $200 bass.  But they were $200 basses, so light they felt cheap.  And I didn’t need another dual single-coil bass, if I had a Jazz.  And that missing-puzzle-piece thing in the headstock is weird.
• I tried a few higher-end Ibanez basses. They were okay, but the Ibanez SR/GSR line is plagued by the problem that all of the basses look and feel functionally identical, with slight increments in workmanship and electronics. A GSR-500 is not 2.5 times as good as a GSR-200. It’s like if Toyota built nothing but Corollas with more and more options as you paid more.
• Squier basses are coming very close to Fender basses in quality. I played a Jaguar from each and they felt very close to the same. But a Jag is a Jazz with a weird body. I played a standard Precision, and it was a standard Precision. Sort of boring to me.
• The SBMM SUB is a damn decent feeling $300 bass.  If they had one with a rosewood fingerboard, I probably would have done that.
• The EBMM Stingray is a damn nice bass. (Explanation: Sterling by Music Man is a company that licenses the design of the Ernie Ball Music Man basses and makes them in Indonesia.) The EBMM version has a perfect neck, very fat and wide and a strange satin feel to it that’s just incredible.  The cheapest one was about $1400.  So, no.
• Spent a lot of time on a Gibson EB-0.  I don’t like their stuff (I also played a Thunderbird, which, aside from having a book by the same name, I was not into) but this thing was sweet. It was all mahogany with a cherry satin finish, but weighed almost nothing. It had a really responsive, thumpy neck that I liked.  But, it was a short-scale 30”, had this dumb anniversary inlay at the 12th fret, and was a little above my price point.  I really hemmed and hawed over this one, though.
• Played a couple of Yamahas and they were shit. Very fret-buzzy.  It could have been the setup. There are probably some nice Yamahas, but that’s like saying that I’m sure International Harvester could build a nice car.
• I played a Jackson with a nice neck, but it had that swoopy inline headstock with a giant logo that looked as 1980s as Yngwie Malmsteen eating a McDLT.

I ended up doing a compromise on the EBMM/SBMM front. Sterling makes a RAY34 which is sort of the high end of the low end line, and has an active EQ and pickup voiced to be close to the old-school Stingrays. I found a used one in aqua blue with a rosewood fingerboard in a store in New Jersey, so that’s on its way out here.

So, down to just one bass in the house temporarily. Lots of UPS watching this week. Hope this long gear thread didn’t bore you too much.

It feels like I’ve read too many Burroughs bios lately. I just checked the shelf, and there are a dozen and a half of them, and that wasn’t something I planned. I’m not writing a dissertation or making this my life’s work. I think it was because Road to Interzone came out and then went out of print so quickly, I now hoard books about Burroughs. I wasn’t in the mood to read another bio, especially a 600-page one, so this book sat for a minute before I got into it, but I’m glad I did.

Burroughs is a strange nut, because the ratio of people who are fans to people who have actually read his work is staggeringly high. As someone who writes strange, experimental, nonlinear fiction, it’s something that’s always perplexed me, something that I’ve studied, as I’ve tried to find a way to get people interested in my own books.  Burroughs himself is a brand. People are more interested in his life than his work. The work is important, but the myth behind what he did with his life, both for good and for bad, is what makes him persist in our culture.  I’ve met many, many people who told me some variation of “I didn’t understand a single word of Naked Lunch, but I’m a huge fan.”  So the life of this guy is the gimmick: the addiction, the shooting of his wife, the moving to strange foreign countries, and the persona is what makes people interested in Burroughs.

This means that biographies of the man are paramount. And the last solid bio of the man was Ted Morgan’s Literary Outlaw, which was published in 1988 and which Burroughs hated.  (Side note: something I didn’t know until recently, because I’m an idiot or maybe because I read his book pre-wikipedia, is that Ted Morgan is a pen name used by Comte St. Charles Armand Gabriel de Gramont.  It’s an anagram for “de Gramont” and he changed his name to this when he became a US citizen.)  There have been plenty of other biographies covering parts or pieces of his life, but not a solid end-to-end book since his death, at least that I’ve read.  (I’m sure there are - there are so damn many books about him.)

There’s not much for me to say about Miles’ work in the bio, except to say he’s fairly thorough, and the book doesn’t skip over much. There are bits where I found his structure confusing.  Like there’s one bit where he mentions Cronenberg visiting, finishing a final script of the movie in 1989, and then taking six years to finalize the script.  At first read, I thought “wait, that movie came out in 1991 - he’s saying the script was finalized in like 1995?” But really, after I read the paragraph nine times, I realized he meant he visited around 1983, labored on the script for six years, and completed it in 1989.  There was nothing technically or grammatically wrong with how he wrote the paragraph; it was just backwards and upside-down to me.  This happened in a few places; otherwise, it’s a pretty smooth read.

I’m trying to think of any new ground covered in this book, and there’s not much, but maybe a few minor points.  I don’t remember reading elsewhere that Burroughs was a bottom, which he mentions several times. His methadone treatment late in life might be news to some. He paints the picture of Burroughs having money issues late in life - not issues per se, as much as having worries, and not sitting on a giant pile of cash as some may expect from a famous writer.

Overall, I don’t have too much to say about the book.  It’s worth a read if you’re into him, but I’m a bit Burroughs-ed out at this point.  I’m also down on a new wave of Burroughs fans that haven’t cracked open any of his books outside of Junky and Interzone, and who don’t know the joy of when a book like The Soft Machine finally clicks and starts firing on all cylinders.  This is a very well-done history, but I’d urge readers not to get too mired into the history and get back to the actual work.

I love it when it’s cool in the early morning after a hot day. There’s a certain charge in the air that’s unexplainable, not just the relief from the heat, but a somnolent, undisturbed feeling.  It was 83 yesterday, and I woke up to 55, and it was wonderful, even if it will be back to the high 70s in a bit.

In the summer of 1992, I had this 8AM writing class.  I was one of the only guys in the class and we talked about metaphor and Susan Sontag and I wrote a paper about the Pink Floyd song “Two Suns in the Sunset” that I’m glad I lost a long time ago.  (I wrote about this fictionally in Summer Rain.)  I used to stay up late every night, meeting people at midnight at Showalter Fountain, then wallowing in depression, sitting on computers or just walking around campus.  I’d maybe sleep a few hours in my pizza oven of a flophouse room, and wake up for the quick walk across campus to Ballantine for the writing class. During the day, the temperatures would hit the 90s, but in the early morning, the temps would sometimes drop into the 60s, and campus would be empty at that time of day. Those walks have permanently burned into my brain, and I think about them every time there’s a morning like this, and I feel that mixed state emotion of fulfillment and emptiness that a quiet, early morning can bring.

I think this work of progress is now paused.  Still not talking about it, except to say that I got a third of the way through the first draft and felt like the writing was too wooden and not me, and I needed a break to pick up some steam.  I think I need to watch a bunch of David Lynch movies in a row and get back to it later.  It’s still a good idea, and it’ll keep, but I need something else right now.

I’m still more or less writing daily stuff, automatic writing, brain dumps of whatever happens to hit at the time I sit down to write.  Sometimes, these are absurd and hilarious and end up in a book like Atmospheres, but they also become these nostalgic things that make me think about writing another book like Summer Rain, which I feel like I can’t do.  Maybe it will end up being a chapbook of some sort.

I was going to write more about nostalgic writing, but I should probably just go do some.

I walked four miles yesterday, in a sudden fit of “I am going to be fucked when I go on vacation and have to walk all day.” I brought my old iPod and left my phone and wallet at home, so I would not lose them in a mugging (I’d just lose my own life when I got shot for being cheap enough to only have an iPod that’s 17 generations old, which is like two steps better than walking around with an old Victrola that only plays 78s.)  Anyway, the iPod had a Henry Rollins spoken word album I’d forgotten I had, his first, called Short Walk Off a Long Pier, which Rollins himself says “It’s just awful.”  I would agree, but it was entertaining to hear, because at the very start of my writing career, I spent so much of my waking time walking, and listening to early Rollins spoken word, and it was interesting to revisit that, twenty years later.

I have been writing.  I don’t like to talk about works in progress, but maybe if I mention it, I will keep going.  I am writing something completely different, and it is very plotted, and is more or less a genre book.  I spent a few weeks on a complete start-to-finish outline of this incredibly linear and non-Konrathian plot, and a week and a half ago started the actual writing.  I just crossed the 20,000 word mark, and am past Act I, so that’s the good news.  The bad news is that I’m certain the writing is very wooden and passive and scary.  But I need to get a framework down, then I will go back and weird it up.  It’s very different writing this genre stuff, and it’s in third person, which I have little experience with, so it’s working a very different set of muscles. But it’s getting there.

Still have not planned much in Germany yet.  I was at Barnes and Noble the other day and looked to see what Germany books they had, and other than those “learn German in 12 seconds” CD sets, they had either books on Berlin, or books on all of Germany, of which like 12 pages of a 500-page book covered the towns I would be in.  There’s more online, but I am lazy and have not gotten to that point yet.  I did briefly fall down the k-hole of thinking I needed a new computer bag, and then needed all of this various travel tactical gear.  It’s too easy for me to spend all day on Amazon, thinking “hey, this alcohol stove only weighs 8.2 ounces” when of course I’m going to eat all of my meals at KFC and it’s not like there will be a sudden snowstorm and I’ll have to produce my own fold-up titanium cot and deep-sea fishing kit including shark knife and wind-up emergency weather band radio.  All I really need to bring is cash, and lots of it.  And headphones, I guess.

Do not download the game 2048.  Do.  Not.  Do.  It.

Okay, so there’s this thing going around, a #MyWritingProcessTour thing, and you know how these memes work - someone nominates you to answer a bunch of questions, you nominate a few other people to do the same, and so on.  I’ve written a lot about process here, and I talked about it in an interview last year, but the tools always slightly change, and so does the writing structure, so maybe it’s a good time to visit the topic again.

I was nominated by Sam Snoek-Brown - go check out his answers there, and also take a look at his latest chapbook, Box Cutters, over on Amazon.  Okay, on to the questions.

What Am I Working On?

I just published Atmospheres in the beginning of March, and I should be publicizing that, but that didn’t work out and I fell into a deep post-partum depression, like I always do.  I stumbled with writing something similar, which started to catch, but it’s hard to plod forward on a book that’s essentially the same as one you just wrote that didn’t sell.  (And I know this isn’t about how many books I sell, but it wouldn’t be bad if a few people actually read them.)

Anyway, I sat around the house watching old movies and taking notes.  Even though I’ve burned a lot of cycles writing about how books don’t need plot and we’re all fucked because plot is a crutch for dumb readers and eventually all novelists will be doing nothing more than writing the book equivalent of stupid half-hour sitcoms, I still have this sick desire to write a well-crafted, heavily-plotted novel.  About once a year, I get this bug stuck in my ass and come up with a half-baked idea and start writing it and then flame out after 50,000 words, a solid Act 1, a broken Act 2, and 17 words of an outline of an Act 3.

(I don’t know what the desire is on doing this.  I think part of it is that I get so much shit for writing “plotless” books, as if that’s a pejorative term, and I think it isn’t.  But every time I get that, I feel like writing a heavily plotted book as a big fuck-you to show that I can do it, and then I’d write another ten books that didn’t do this.  Because I can; it’s just I feel like I’m not pushing the envelope when I do.)

Well, right now I have an 80%-baked idea, and just started work on it, and have a much more solid outline and the first 10,000 on it.  That’s about all I can say about it right now, but if it still has momentum in a month, it could be good.

How Does My Work Differ From Others of its Genre?

I don’t really fit into any particular genre, so I don’t know how to answer this.  I can probably answer by saying why my work doesn’t fit into specific genres or communities, and that would define the differences in my writing.  So:

• I don’t write genre fiction, so I don’t write high-concept stuff that can easily be pitched.
• I feel like most experimental writing is an academic study in form, and not necessarily written to be entertaining. While I think that kind of writing is important, I’m not an academic, and I write to entertain, so I think the readability level is much higher in my work.
• I’m often called an absurdist, but there’s a fine line between satirists and absurdism (i.e. Vonnegut, Heller, Tom Robbins, etc.) and I think when people think of absurdism, they’re really thinking satire. I think more of the Dada and surrealism movements in art, but the word surrealism has been overloaded and destroyed in modern culture to the point of meaningless, and I think any time someone sees something weird or freaky or psychedelic, they call it surreal, (i.e. locking a bunch of has-been celebrities in a house and making a reality TV show is “surreal” now.)
• I’m often lumped into the Bizarro fiction world, but I haven’t published anything with Eraserhead or their imprints, which is the difference between bizarro and Bizarro.  I also feel like at this point, half of bizarro is horror fiction with a certain Troma-esque sense of humor, or it’s a very set form of “let’s take Adventures of Huckleberry Finn, and make Tom Sawyer a talking anthropomorphic penis, and it’s set in Nazi Germany” and that’s that.  There are exceptions to the rule, but I’ve never fell into the groove with that, and I don’t write horror.

Why Do I Write What I Do?

I wrote a big post called Why I Write, which partially answers this.  If I were to riff on this for a minute, I’d give the stock answer of “I write what I would want to read” which is a bit of a cop-out, but is true. I mean, when I read or re-read a classic book like Naked Lunch or a more contemporary one like any of Mark Leyner’s stuff, I always think “I really like this — who is writing more stuff like this?” and the answer is nobody.  So, that’s what I need to write.

How Does My Writing Process Work?

Okay, here is the rundown, 2014 edition.

First, I write here and write on Facebook and twitter, and those don’t really feed into my actual writing; they are just distractions.  I also keep a personal journal, handwritten in little moleskine books, and I try to write in that every single day, but it’s mostly just about day-to-day happenings and not about writing, except maybe how much I did or did not do.

I use a MacBook Pro, iPhone, and iPad, and I use the Notes app to keep track of ideas or write down things as they happen in the wild, like little phrases or title ideas or things to research later.  These sync across all of the devices, and I currently sync them through Gmail, which means in theory I can access them even if I’m somehow away from all three things but still at a computer.  (I might research how to change this to iCloud, because every time I rely on a Google service for something, they decide to cancel it.)

I use Scrivener for everything.  So I have a big Scrivener catch-all project that contains nothing but bits and pieces, leftovers from published books and ideas for characters and lists of random objects and places and little phrases I want somebody to say at some point and title ideas.  It’s basically a hoarder’s house of words.  Every month or so, I scoop out the running Notes file of ideas and drop it in there.  When I have time, I sometimes move the pieces into the proper places, and if I was smart, I’d do that religiously.  But I’m not.  I am about 17% confident that the best ideas float back out of the scratch project when I skim it looking for things to rip off in a current project.  And I’m learning that not every idea that comes out of my head is golden and 90% of them should probably die.  But that’s always a struggle.

For writing plotted stuff: I will probably go into this in greater detail after the book is done.  But I’m using a program called Scapple, which is by the same company as Scrivener, and it’s a sort of mind mapping thing.  You draw little circles on a big blank canvas and put text in them and connect them together and shuffle them around.  Once you get the order correct, you can either export it into OPML, or just drag and drop it into Scrivener.

Scrivener uses this concept of scrivenings, which are little chunks of text.  You can view all of the scrivs sequentially, like a big, flat file.  You can then create folders and a hierarchy and move them all around and give each one a cute title and have them be your chapters or parts of chapters or scenes or whatever.  You can also switch to an outline mode, or to an index card mode, that uses a different piece of text per scriv (a short description) so you can plot your story and move things around.  It’s confusing until you get the hang of it, and then you never want to go back.

For plotted stuff, I moved the Scapple map I plotted out and dropped it into Scrivener, where each little scene bubble became a scriv.  Then I organized things by Act and got the order all correct, and started writing from page one, sequentially.  When I get done, I can shoot the whole thing out in .DOC format or whatever.  I use Apple Pages instead of Word for layout, because I hate word.  And Scrivener is able to output eBooks pretty much perfectly, so that’s what I do.

When I do the more non-linear writing, I typically have a project and I free-write every day, 500 or 1000 words.  When I wrote Atmospheres, I would listen to the Sleep album Dopesmoker all the way through every day, and write, with my only rule being that I couldn’t write about not writing. I mix in pieces that are in that scratch project, and I later cut out bits and pieces and split things up.  Sometimes, I’ll write for a given day, and I’ll split out a single paragraph or even sentence from that entry, and create a new scriv from it, maybe gluing in pieces from another one, and eventually fill it out until it’s a longer piece.  It’s like songwriting, collecting riffs and eventually gluing them together and smoothing them out until something larger appears.  This takes forever, but it would take longer if I was doing it in another program.

I usually have a hair-brained scheme involving color tags on the project outline that determines what’s part-done and what’s almost-done and what needs a total redo.  I also set up a NO folder outside the project and start chucking things into it that I can’t look at anymore.  Eventually it comes down to PDFs that are printed and red-penned and mailed to readers for comments.

Okay, I’m supposed to tag a bunch of people here to answer the same questions.  I have not asked any of them to do it, so they probably won’t but here you go:

• Ryan Werner was already tagged but I will tag him again. Werner runs Passenger Side Books, plays guitar in 17 different bands, and writes Terry Funk fan fiction.
• David S. Atkinson is the author of The Garden of Good and Evil Pancakes and Bones Buried in the Dirt.
• Fiona Helmsley has written a bunch of stuff everywhere, and I publish her a lot at Paragraph Line.