A Retro Promotion–with a Twist (Or, The Three-Foot Man Who Came to Bat)

Bill Veeck was a showman.  He always had been.  But this time, he was determined to cook up a scheme that would top them all.

 

In the dog days of the late summer of 1951, Veeck’s team, the St. Louis Browns, were mired in yet another forgettable season.  The Browns–who later moved to Baltimore and rechristened themselves the Orioles–were a perennial basement dweller, and the fans in St. Louis took note.  Attendance was spotty year after year.  St. Louis belonged to the crosstown rival Cardinals.  The Browns were an afterthought.

To combat this, Veeck, the Browns owner, came up with an idea.  What if he rostered a man under four feet tall and sent him up to bat?  On the afternoon of August 19, 1951, in the second game of a doubleheader between the Browns and the Detroit Tigers, the sad-sack team from St. Louis did just that.

 

Enter Eddie Gaedel.  Gaedel, twenty-six at the time, stood three feet seven inches tall and weighed in at sixty-five pounds.  But prior to Gaedel’s bizarre plate appearance, both Veeck and Gaedel kept things under wraps.  Between games of the doubleheader at Sportsman’s Park in St. Louis, Gaedel burst through a papier-mache cake.  “Is that all?” the fans wondered.  Veeck had promoted the event as something people would never forget, a “festival of surprises.”  Having a miniature-sized young man emerge from a fake cake between games was not exactly riveting material.

 

But Veeck had the last laugh, and the “festival” was most assuredly on.

In the bottom of the first inning of the second game of the doubleheader, the Browns pinch-hit for their leadoff batter, Frank Saucier.  And the man who they sent up to hit for him?  None other than Eddie Gaedel.

 

The home-plate umpire protested.  What was this?  But Browns manager Zack Taylor provided a copy of Gaedel’s contract–Veeck had been prepared for just such a challenge from the umpire, and had the foresight to arm his manager with the contract, just in case.

Satisfied that the circus materializing before him was in fact on the up-and-up, the umpire allowed the action to proceed.

The Tigers pitcher that day, Bob Cain, laughed at Gaedel from the mound.  But he pitched to him.  Gaedel, wearing the number 1/8 on his uniform, was under strict orders not to swing the bat–just take the pitches thrown his way.  Though tempted to take a cut at the ball, Gaedel followed the plan, and, with such a tiny strike zone, he was awarded a walk on four pitches–all high.

 

On his way to first base, Gaedel twice paused to bow to the crowd, who cheered him on wildly.  He was summarily replaced with a pinch runner, and, on his way back to the dugout, Gaedel received a standing ovation.

 

The Browns, as was their custom, would go on to lose the game, 6-2.  And the very next day, American League president Will Harridge voided Gaedel’s contract, claiming it made a mockery of the game.  Gaedel never appeared in another Major League contest.  But for one day, for one at bat, Eddie Gaedel stood tall and forever forged his place in baseball lore.

 

********************************************

I don’t pretend to have come up with a promotion that compares with old Eddie Gaedel’s single plate appearance sixty-seven summers ago, but I am reenacting a promotion I’ve used a few times before–with a twist.

In years past, I would sometimes run an Amazon gift card promo for The Eye-Dancers.  I now propose to do the same thing for the sequel, The Singularity Wheel.  (But The Eye-Dancers still factors in, if applicable!  Stay tuned.)

 

And so, for anyone who is thinking of purchasing The Singularity Wheel, the next month offers an intriguing opportunity.  Beginning today, April 4, and ending Sunday, May 6, anyone who purchases The Singularity Wheel will be eligible to win an Amazon gift card.  Here is how it works . . .

 

Between April 4 and May 6, if you buy The Singularity Wheel (either as an e-book or a paperback, your choice!), please notify me–either with a comment on this website, or via email at michaelf424@gmail.com.  I will write down the name of  each person who buys the book during this time frame on a small slip of paper, fold the paper, and, in old-school fashion, place the paper in a jar.  Then, on May 7, the day after the promotion ends, I will randomly select one of the names from the jar.  The selected person will be awarded the Amazon gift card.

amazongift

The amount of the gift card will be based on the number of purchases of The Singularity Wheel during the promotional time period.  For each purchase, $1.50 will be earmarked toward the gift card.  So, for example, if there are thirty purchases during the promotion, the gift card would be $45 (30 purchases x $1.50 per purchase).  The gift card amount, in other words, will be determined by you!  The more purchases, the higher the amount on the gift card.

 

I’ll draw the winner’s name on Monday, May 7, and will email the good news to the winner, and immediately award them the gift card.

Where does the first book, The Eye-Dancers, come in to play?  Well, for everyone who has already purchased The Eye-Dancers (and thank you to all!), it doesn’t.  But if you have not purchased The Eye-Dancers, it makes sense for you to read that first since The Singularity Wheel is a sequel.  With that in mind, if you do not already have a copy of The Eye-Dancers on hand and you take part in this promotion, as soon as you inform me that you’ve purchased a copy of The Singularity Wheel, I will promptly email you a file of The Eye-Dancers for free.  And the file can be in whatever format you prefer (PDF, epub, or mobi).

 

I hope you will take part in this promo!  While, admittedly, it’s not in the same league as Bill Veeck’s 1951 “festival of surprises,” it does offer an opportunity to win a (hopefully) substantial gift card!  And again, as a reminder, if you do buy The Singularity Wheel during the designated promotional period, please make sure to contact me so I can enter your name into the gift-card contest.

 

To buy a Kindle copy of The Singularity Wheel, please click here.

To buy a paperback copy, please click here.

And, unlike Eddie Gaedel nearly three-quarters of a century ago, there’s no need to leave the bat on your shoulders.  Feel free to swing for the fences.

 

Thanks so much for reading!

–Mike

“The Singularity Wheel” Is Now Available as an E-book! (Or, “This Is Next Year!”)

When the 1955 baseball season opened, fans of the Brooklyn Dodgers wanted to believe–but couldn’t quite get there.  It’s not that the Dodgers weren’t talented.  Every year, they fielded a winning team, a championship-caliber team replete with All-Stars such as Jackie Robinson, Duke Snider, Pee Wee Reese, Roy Campanella, and Gil Hodges.  The thing was, the Dodgers were the ultimate tease.  Since 1941, Brooklyn’s beloved baseball team had made the World Series five times, and each time they lost to the cross-town rival New York Yankees.

 

 

Heading in to 1955, nothing seemed to be different.  The Dodgers were still great, but so were the Yankees.  What was worse, the Dodgers were getting older.  The window was closing.  Players like Robinson and Campanella were on the back end of their careers.  They couldn’t last forever.  No doubt, the Flatbush Faithful must have questioned that spring if their Dodgers would ever win the Series and dethrone the Yankees.

 

Heartbreak was a by-product of rooting for the Dodgers.  At the end of every season, when their team came up just short, the fans would proclaim, “Wait till next year!”  It was a rallying cry that had endured for decades.  To be a Dodgers fan in the mid-twentieth century, you had to be patient, willing to stick with your team despite coming so close season after season.

 

And so even after the Dodgers powered their way to the National League pennant that summer of ’55, winning by a comfortable thirteen-and-a-half games, their fans remained skeptical.  Sure, they were going back to the World Series.  So what?  That was old news.  And so was their opponent–the Yankees.  Another Dodgers-Yankees Subway Series was in the offing.

 

The Series did not start well for Brooklyn.  They lost the first two games in Yankee Stadium.  “Here we go again,” the Dodger faithful must have thought.  “Wait till next year.”  But then a funny thing happened.  As the Series shifted to Ebbets Field, the Dodgers took all three home games, forcing the action back to Yankee Stadium.

 

The Yankees won Game 6, but in Game 7, the Dodgers shut out their arch-rivals, 2-0.  Finally–after decades of coming up short, the Brooklyn Dodgers had won the World Series.  This was, at along last, “next year.”

 

***************************

And now, after four-plus years of writing, editing, and revising, The Singularity Wheel is available on Amazon.  By no means am I equating the sequel to The Eye-Dancers with the legendary Brooklyn Dodgers!  And four years is but a fraction of the decades-long dry spell the Dodgers experienced–but it is good, and rewarding–after so many delays along the way–to release the book.

 

The Singularity Wheel is currently available only as e-book.  You can find it here . . .

The paperback version will be released in February.

Honestly, it’s an odd feeling to be done with the book.  It’s been a part of me for so long.  For the past half-decade, not a day has gone by where I haven’t stressed over some character’s motivation or some sticking point in the plot.  But there is also relief, and a deep gratitude to all of you, who have encouraged me and supported me along the way.  I can’t thank you enough.  And I look forward to blogging with you throughout 2018 and beyond.

 

For right now, this is, indeed, “next year” for The Singularity Wheel.

 

Thanks so much for reading!

–Mike

An Enduring World Series Blooper (Or, The Ability to Move On)

In October 1912, six months after the sinking of the RMS Titanic and two years before the start of the First World War, the Boston Red Sox and the old New York Giants squared off in what would prove to be an exciting, competitive, and nail-biting World Series.  The series would go to a deciding seventh game (technically, an eighth game, as a game earlier in the series had been called off on account of darkness) as the two best teams in baseball went toe-to-toe.

 

The deciding game took place on Wednesday, October 16, in Boston’s Fenway Park, which had just opened for business that spring.  Trees were starting to turn, the air had a tang to it, and, one way or another, the 1912 baseball season was about to reach its conclusion.

 

The Spalding’s Official Baseball Guide that hit the newsstands the following spring wrote of the 1912 Series: “No individual, whether player, manager, owner, critic, or spectator, who went through the world’s series of 1912 ever will forget it.  There never was another like it.  Years may elapse before there shall be a similar series.”

 

For one player, though, the memories of that deciding final game would be far from pleasant.

Fred Snodgrass was a 24-year-old center fielder for the Giants, just three days shy of his 25th birthday.  He was a solid player–not a superstar by any stretch, but a consistent, steady contributor.  He had played in 146 games that year, batted a respectable .269, and stole 43 bases.  “Snow,” as he was called, would have been as likely as anyone in the Giants lineup to play the hero.

 

He did just the opposite.

The big game went to extra innings, the tension swirling around Fenway Park, thick as sea fog.  And when the Giants plated the go-ahead run in the top of the 10th inning, to take a 2-1 lead, it appeared that they would break the Fenway faithfuls’ hearts.  But in the bottom of the 10th, the first batter up for the Red Sox lofted a lazy fly ball to center field.

 

Snodgrass camped under the ball, reached up with his mitt, and . . . dropped the ball.  The baserunner slid into second base, safe on the error.  Later, Snodgrass tried to explain what went wrong, how he could have muffed such an easy ball.

“I didn’t seem to be able to hold the ball,” he said, unable to offer an excuse.  “It just dropped out of the glove, and that was all there was to it.”

Snodgrass made a brilliant play on the next batter, robbing him of an extra-base hit.  But the damage had already been done.  Ultimately, the Red Sox scored two runs that inning, aided by “Snow’s” miscue, and won the game, 3-2, and the Series, four games to three.  Snodgrass’s error would become known as “the $30,000 muff,” alluding to the difference between the winning and losing shares for World Series participants that year.

 

Sadly, this was what many fans and sportswriters remembered from the 1912 Series–up until that time, perhaps the best and most compelling World Series ever played.  The matchup between the Red Sox and the Giants that year included four future Hall of Famers and was the first World Series to be decided in the final inning of the final game.

 

But for Fred Snodgrass, he would be reminded of his untimely error for the rest of his life.

“For over half a century I’ve had to live with the fact that I dropped a ball in a World Series,” Snodgrass recounted in Lawrence S. Ritter’s delightful The Glory of Their Times, decades after his 1912 error in the Fall Classic. “‘Oh yes, you’re the guy that dropped that fly ball, aren’t you?’–and for years and years, whenever I’d be introduced to somebody, they’d start to say something and then stop, you know, afraid of hurting my feelings.”

 

The question was–would Snodgrass be able to move on and live his life fully, or would he remain stuck reliving an unforgiving and an unchangeable past?

***************

In The Singularity Wheel, the sequel to The Eye-Dancers, set to be released in November, Mitchell Brant has a different, but at the same time, similar dilemma.  Five years have passed since the events in The Eye-Dancers, but Mitchell cannot seem to forget Heather, the girl he met in another world, as far away from our earth as can possibly be imagined.  As the years have gone by, Mitchell misses Heather more and more, holding imaginary conversations with her, saving the gold locket she had given him as a keepsake, wishing there was some way he might be reunited with her.  He’s dated other girls since, but no one can hold a candle to Heather.  Being with other girls only serves to remind him of what he’s lacking, the one person he longs to be with but can’t.

 

From chapter 1 of The Singularity Wheel:

“He knelt down in front of his dresser, opened the bottom drawer.  This was where he stored his most valuable comic books.  It was off-limits to everyone else, even Mom, and a perfect place to stash his secret.

“He pulled out stacks of Fantastic Fours, Spider-Mans, Avengers, and X-Men, and set them aside, revealing the necklace with the gold-shaped locket tucked back in the far corner of the drawer.  This was the gift Heather had given him.  Something to remember her by, she had said.  It was cumbersome having to perform this ritual every night.  There were a hundred other places he might store the locket.  But he wouldn’t risk it.  The locket was too precious, too sacred.  No one else could see it.

“He picked it up, sniffed it, wondering if some faint, long-ago fragrance from her might still linger there.  It didn’t.  He wrapped his fingers around it, tight, held it against his cheek.  It was silly, really, what she had said—as if he would ever need anything to help him remember her.  He just wished the way she had believed in him, had confidence in him, might be able to rub off on his own opinion of himself.  Maybe it would have been different if he’d been able to stay with her in Colbyville, be near her, every day.  As it was, it was hard, even impossible sometimes, for Mitchell Brant to believe in Mitchell Brant.”

Will Mitchell get the opportunity, against all odds, to span the void and see Heather again?  And if he does, how will their meeting go?  Will she still feel the same way he does, after all this time?  Or will she no longer care?

 

Moving on is hard to do.  Coming to terms with the regrets of our past, with things we cannot change, with hopes and dreams that may seem out of reach, is one of life’s great challenges.

 

But it’s not impossible.

******************

Fred Snodgrass was never allowed to forget the error he’d made on baseball’s grandest stage.  But he didn’t let it ruin his life, or eat him up.  Perhaps Mitchell can take solace from Snodgrass’s perspective.

Perhaps we all can.

“Well, life has been good to me since I left baseball,” Snodgrass said in The Glory of Their Times.  “My lovely wife, Josephine, and I have enjoyed success and things have gone well, very well, through these many years.  In contrast, my years in baseball had their ups and downs, their strife and their torment.  But the years I look back at most fondly, and those I’d like most to live over, are the years when I was playing center field for the New York Giants.”

 

Thanks so much for reading!

–Mike

From Smartphones to Biscuit Pants and Three Finger Brown

When Mitchell Brant, Joe Marma, Ryan Swinton, and Marc Kuslanski are transported to a parallel universe in The Eye-Dancers, they soon discover that the world in which they find themselves is devoid of computers, cell phones, and digital technology of any kind.  This was not an accident or the result of some spur-of-the-moment detail that manifested itself in the flow of a first draft.  It was something I had deliberately chosen to do.

parallelworldintro

 

At first, in the earliest conception of the story, I toyed with the idea of making the lack of digital technology a key element in the plot, perhaps elevating its importance right up there with swirling, hypnotic blue eyes and dreams and nightmares that seem to come to life.  But I eventually pocketed that notion, and the lack of PCs and cell phones became a smaller piece of the puzzle–still there, still relevant, but not paramount.  Through it all, though, I never once considered removing this detail from the novel.

dreamsandnightmares

 

The variant town of Colbyville, and the world that surrounds it, was always destined to be a place where smartphones do not exist and cannot function.

smartphonesbeforefirstbreak

 

******************

I certainly wouldn’t describe myself as anti-technology.  Far from it.  After all, how could I possibly rail against 21st-century digital innovation when I have published an e-book, readable on a handheld device, and have blogged for four years within the wonderful WordPress community, enjoying every minute of it?  No.  I am not opposed to the electronic wonders of our age.

wordpresscommunity

 

But I do fondly recall an earlier period–not so long ago on the one hand, millennia ago on the other.  I grew up in the 1980s, where at-home digital innovation consisted of the Commodore 64 my parents bought for us in 1984, complete with its DOS screens, ’80s-style video games, and pre-Windows platform.  At the time, of course, the old Commodore seemed a marvel, a technological triumph that represented the blossoming and realization of the robotic age.  Today, it is a relic, an artifact, an odd, cumbersome thing more an amusement than a tool of technology.  A twelve-year-old coming face-to-face with this ancient archaeopteryx of the computer world would likely stare at it in disbelief, wondering how such an antique ever worked at all.

archeopteryx

 

It’s not so much that I want us to return to the days of the Commodore 64 (though it’s hard to top such video-game classics as Jumpman, Donkey Kong, and Zork!), eschewing all the digital advancements of the past thirty years.  But sometimes I wonder.  Is there a price we’re paying in our Wi-Fi society, waist-deep as we are in hyper-convenience, where vast pieces of information or merchandise or virtually anything under the sun (and some things beyond) are available at the merest click?  In a world of endless apps, ubiquitous social media, prolific texting, and data overload–is there something missing?

donkeykong

 

It is, ultimately, a matter of perspective and opinion, of course.  But as I ponder it, I can’t seem to get away from the specter of Three Finger.

*********************

On a spring day in 1888, a young boy lost parts of two fingers in a farming accident.  As it turned out, though, the boy used the accident as a springboard to greatness.  He took up the game of baseball, learned to pitch, and for over a decade in the early years of the 20th century, Mordecai “Three Finger” Brown baffled opposing hitters.  With two of his fingers on his pitching hand shortened and mangled due to his old accident, Brown was able to put mind-boggling spin on the ball, becoming one of the greatest pitchers of his era.  And the nickname “Three Finger” was a natural.  It stuck with Brown for the duration of his career, and beyond, following him right into Cooperstown, NY, and the Baseball Hall of Fame.

threefingerbrown

 

Indeed, there was a time when virtually ever ballplayer had a nickname–almost a personal brand, something acquired at a young age, never to be relinquished.  Some of the nicknames were original, some were inspired by admiration for the player’s skills, some were downright silly, but almost all were fun.  Here are a few:

Frankie Frisch–The Fordham Flash.

Willie Mays–The Say Hey Kid.

williemays

 

Charlie Gehringer–The Mechanical Man.

Burleigh Grimes–Ol’ Stubblebeard.

Gabby Hartnett–Old Tomato Face.

Ernie Banks–Mr. Sunshine.

Joe Jackson–Shoeless Joe.

shoelessjoe

 

Bris Lord–The Human Eyeball.

Chuck Klein–The Hoosier Hammerer.

Henry Aaron–Hammerin’ Hank.

Mickey Mantle–The Commerce Comet.

mickeymantle

 

Al Simmons–Bucketfoot Al.

Luke Appling–Old Aches and Pains.

And these represent just the proverbial tip of the iceberg.  There were hundreds of others, from Arkys to Rubes to Dazzys.  There were even Dizzys!

dizzydean

 

And of course Lou Gehrig’s famous nickname–The Iron Horse–was earned due to his remarkable streak of playing in 2,130 consecutive games, over a span of fifteen seasons.  But he was also known as Buster and Biscuit Pants.

In 2016, there are certainly still some amusing baseball nicknames, but they are much fewer and farther between than they used to be.  There just aren’t any Sparkys or Scooters or Slugs anymore.  In their place, we have analytics and digital trends and statistics galore.  If you want to know a player’s batting average, on-base percentage, slugging percentage, or ERA, all you have to do is pull out your mobile device, click on a link or two, and voila.  There you have it.  Some of my friends have apps installed so when their favorite team scores a run, their phone dings to let them know.  We have so much data and knowledge at our fingertips in any given moment, it would surely make “The Georgia Peach’s” head spin.

datacobbheadspin

 

And again, this is a great thing.  I am not knocking it.  But then I wonder–would there even be a place for a Mordecai “Three Finger” Brown in our world today?  Or would such a moniker be deemed inappropriate somehow?  Maybe he’d just be called Mordy for short, and leave it at that.  Even if he did play, and thrive, and win, would the majority of fans be enthralled solely by his virtually unhittable pitches, or would his exploits too often be relegated to the what-have-you-done-for-me-lately real-time scoring apps of fantasy baseball leagues?

fantasybaseball

 

I’m not saying there isn’t a place for WHIPs or DIPs or dERAs or any of the other sabermetric markers that are all the rage today in baseball.  We live in a world of constantly evolving digital technology, where last week’s app is suddenly outdated and last year’s Windows update is a dried-out and decaying fossil.  Technological advancement is an ever-changing phenomenon.

sabermetrics

 

But through it all, I hope we can sometimes take a step back, take a deep breath, and reflect.  Even in this age of smartphones and Twitter, and soon-t0-be driverless cars, there is always a place for Biscuit Pants.

biscuitpantsend

 

Thanks so much for reading!

Mike

When a Pee-Wee-Sized Idea Turns into a Bases-Clearing Home Run

It’s happened to me more times than I can remember.  An idea strikes, out of the blue, an inspiration from the creative ether, and I feel energized, inspired, eager to begin a new story.

boltfrombluebeginning

 

But then a funny thing happens.

I realize, sometimes after keying in the first few sentences, sometimes while thinking about the idea more fully, before having written a single word, that my construct, this gift from the muse, is in fact woefully underdeveloped.  Perhaps it represents a situation, a concept, a character’s epiphany, a new twist on an old theme–it is a good starting point for a story, but it is not, by itself and in itself, a story.  Not even close.  Once the white-hot glow of new creation cools to a steady simmer, once I step back and examine things with a cool and analytical eye, I realize I am nowhere close to beginning a story.  There is still much to flesh out.

simmering

 

This is precisely what happened with The Eye-Dancers.  One night, while still in high school, I had a vivid dream of a girl outside my bedroom window.  She was just a child, maybe seven years old, standing in the light of the street lamp, out in the middle of the road.  But she was no ordinary child–the light went right through her.  She was more ghost than girl, more apparition than flesh-and-blood human being.  She beckoned for me to come outside, and I remember, all these years later, how real it all seemed.  When I woke up moments later, the bedsheets were in a tangle at my feet, and my skin was wet with perspiration.  Immediately I jotted down the essentials of the dream, knowing, instinctively, that this was the germ of a story.  The girl from my dreams couldn’t be wasted, tossed into some discarded literary oblivion from which she might never be heard from again.  She needed to come alive, on the printed page, the centerpiece of a story I was sure I was meant to write.

ghostgirl

 

The thing is, it took twenty years for that story to materialize, two decades for the pieces to fit together into a coherent and structured whole.  Many times, I doubted if I would ever be able to work this “ghost girl” into a story, but finally, in a far-off and futuristic 21st century, Mitchell Brant and Joe Marma and Ryan Swinton and Marc Kuslanski emerged, one by one, against a backdrop of parallel worlds and nightmares come to life, and the “ghost girl” at last had a home.

nightmarescometolife

 

But that’s the way ideas often are.  Every now and then, when we’re lucky, they arrive fully evolved, fleshed out, ready to lead us where they will. Much more frequently, at least in my experience–they come in pieces, bit by bit, at their own pace, and in their own time.  They cannot be rushed, and they cannot be forced.

bitbybitcantberushedtortoise

 

They demand our patience.

*******************

Harold “Pee Wee” Reese was so small as a child that he didn’t manage to get onto his high school baseball team until his senior year, and even then it was for only six games.  Nicknamed “Pee Wee” as a boy because of his mastery of playing marbles, Reese weighed all of 120 pounds as a high school senior.  Few talent scouts indeed would have predicted a future in baseball for the diminutive infielder.

peeweemarbles

 

But Reese continued to play the game he loved, and when his amateur church league team played their championship game on the minor league Louisville Colonels field, personnel for the minor league club were impressed by what they saw.  Maybe the small kid with the slick glove and quick feet had a future in the game, after all.

peeweereese

 

Within two short years, Reese was playing shortstop for the Brooklyn Dodgers, in the Major Leagues.  His big-league career got off to a rocky start, as he broke a bone in his heel during his rookie campaign of 1940, and then the following year, Reese led the Majors in errors.  But as time went on, it became clear that Pee Wee Reese was a keeper.  The Dodgers never traded him or released him; he would go on to play for the heroes of Flatbush for sixteen years.

ebbetsfieldflatbush

 

Never a great pure hitter, Reese still managed to get on base with regularity, drawing walks and using his savvy to set the table as the leadoff batter in the National League’s most feared lineup, featuring the power of Duke Snider, Roy Campanella, Carl Furillo, the skill of Junior Gilliam, and the all-around mastery of Jackie Robinson.  It was in regard to Robinson, in particular, where Reese made his most profound mark, helping his teammate along during Robinson’s trailblazing and tempestuous rookie year of 1947.  Reese, the team captain, played such a pivotal role that Robinson later wrote, “Pee Wee, whether you are willing to admit what your being a great guy meant (a great deal) to my career, I want you to know how much I feel it meant.  May I take this opportunity to say a great big thanks and I sincerely hope all things you want in life be yours.”

reeseandrobinson

 

Pee Wee Reese retired from baseball as a player in 1958, the year after the Dodgers moved to the West Coast.  (He lost three years of his career in the 1940s while serving in World War II.)  In 1984, deservedly, and long overdue, the Little Colonel, the captain of the Dodgers, was elected to the Baseball Hall of Fame in Cooperstown, New York.

reeseinthehall

 

******************

It’s easy to wish that all ideas, when they come, arrive fully formed and ready to go, complete with all major plot developments, character motivations, and even, perhaps, subthemes and story tangents.  And sometimes they do.  In particular, there have been times when an idea for a short story has hit me with such force, such actuality, I knew it was a winner, and all I had to do was sit down at my keyboard and let the tapestry of the idea unravel, word by word.  Ideas like this are the phenoms, the high school superstars who even the most nearsighted of scouts can discern have a bright and accomplished future.

superstarideasnearend

 

But you can’t count on them.  They are the Halley’s Comets of the literary world, only coming round once every blue moon, teasing us with a glimpse, a flourish, and then vanishing, like mist, once again into the farthest depths of the cosmos.

halleyscomet

 

No–most ideas take work, thought, honing, patience.  It’s often easy to become frustrated with such ideas, works-in-progress as they are.  But if we allow these soft-spoken and demure gems the time they need to grow and mature, we may just have a winner on our hands.

Sometimes, even a Pee Wee can make it all the way to the top.

greatsmokiesgemsendofpost

 

Thanks so much for reading!

–Mike

A Step-by-Step Journey–Or, Words of Wisdom from a Fictional Minor-League Catcher

In the 1988 romantic comedy Bull Durham, there is one sequence when veteran minor-league catcher Crash Davis pulls aside the young pitching phenom Nuke LaLoosh to offer words of advice.  Davis knows talent when he sees it, and he knows that LaLoosh is headed, ultimately, for the Major Leagues.  Though raw, and with much to learn, the young pitcher has a golden arm, blessed with a rocket-like fastball and an off-the-table curve.  He has future superstar written all over him.

aloosh

 

But he’s arrogant, hot-tempered, immature, and, Davis is sure, not at all prepared to handle the fishbowl lifestyle of the Major Leagues.  And so on a road trip, as their minor-league team, the Durham Bulls, gears up for a new opponent, Davis instructs LaLoosh on the fine art of the interview.

crashdavis

 

“You’re gonna have to learn your cliches,” he says.  “You’re gonna have to study them.  You’re gonna have to know them.  They’re your friends.  Write this down: ‘We gotta play it one day at a time.'”

As LaLoosh does indeed write this down, he says, “‘Got to play’ . . . it’s pretty boring.”

Davis is quick to respond:  “‘Course it’s boring, that’s the point.  Write it down.”

durhaminterview

 

He provides two other canned responses to interview questions, as well, both as cliched and dull as the first.  Indeed–how many times have we heard this oft-repeated phrase:  “One day at a time; one game at a time . . .”

“So, are you looking forward to playing the Yankees next month?”

“Next month?  Next month?  This is this month!  We’re not even thinking of the Yankees.  Who are they?  We gotta take this one game at a time.  If we start looking ahead to next month, the series against the Yankees won’t even matter because we’ll have lost the next few anyway.”

onegameatatime

 

It’s frustrating for the interviewer and the audience alike.  We listen to this, and think, “Can’t they ever be honest?  Of course they look ahead.  They have to.  Anybody would.”

tellingtruthmakebelieve

 

But maybe, just maybe, it’s not always just a tired cliche.  Maybe sometimes, they’re actually telling the truth.

**********************

Have you ever been there?  You’re writing a novel, or a memoir, or any long work of literature, and you know that just down the road, perhaps as near as the next chapter, a major development beckons.  The protagonist will face a monumental challenge, a huge shift in the plot will occur, perhaps someone instrumental to the story will die.  Regardless of the specifics, it is a crucial development, one of the most important sequences of the entire work.

majordevelopmentcrossroads

 

But it’s not the chapter you’re working on . . .

Speaking of, the chapter you are working on is relatively minor.  There are no groundbreaking events, no epiphanies or “aha” moments, no twists and turns that will create a sea change for the rest of the story.  It’s a quiet chapter, understated, a small hors d’oeuvre before the meal is served, an undercard to kick off an evening where everyone in the audience is breathlessly awaiting the main event.

horsdeouevres

 

When I wrote The Eye-Dancers,  there were certainly moments just like this.  There is a short chapter where Ryan Swinton walks off from the group, needing some space to think and reflect.  Later on, toward the climax of the novel, Marc Kuslanski has a similar conversation with himself, exploring the troubling reality of paradoxes, that not everything can be rationally and neatly explained.

paradox

 

It’s precisely at such times as these that Crash Davis’s advice to his young teammate most applies.  Because–if we rush through the little scenes, the reflective and subdued chapters, if we slap them together without much effort out of sheer impatience to move forward, it won’t even matter what that earth-shattering revelation will be in chapter 29, or how our protagonist will manage to survive the dangers at book’s end.  Regardless of how mesmerizing the big scenes are, they are built, in large part, by the “small” chapters and interludes that precede them.

quietmoments

 

I have found that, when writing a novel, the task sometimes seems so large, so daunting–often literally taking years to complete–that it’s dangerous thinking too far ahead.  Granted, there needs to be some sense of direction.  I know, for me, I like to have an idea where I’m going before I begin the first chapter, and at times, during the course of writing the story, if an idea strikes me for a scene several chapters off, I’ll jot it down to make sure I don’t forget it.

ideawritedowndontforget

 

But if I start worrying too much about scenes as yet unwritten, developments around the bend, as it were, if I spend too much time stressing about specifics five or ten chapters hence, then I am in real trouble.  Suddenly the scenes I am working on become harder to write, and I find it more difficult to concentrate on the task at hand.  I may even get bogged down with doubts, wondering if the novel as a whole will be worthwhile or just some disastrous literary flop.

selfdoubt

 

Indeed, if I am about to begin chapter 17, as I am in the sequel to The Eye-Dancers, even as I write this post, I need to focus exclusively on chapter 17.  Not chapter 18, or chapter 19, or chapter 26.  Even more specific than that, I need to focus on the next word, the next sentence, the next paragraph.  For, when it’s all said and done (a fitting description in a post talking about an old cliche!), a story is indeed built one word at a time, one chapter at a time.

The Yankees next month?  They can wait.

yankees

 

Just ask Crash Davis.

Thanks so much for reading!

–Mike

The Conundrum of Creativity (Or, Sometimes They May See You Sweat)

One fall day in my junior year of college, I met with my academic advisor, a bearded, gray-haired man in his early sixties who also happened to teach two of my Writing courses that semester.  It was late in the afternoon, his office overlooking the campus’s back parking lot.  Mellow October sunshine filtered in through the open window, the breeze ruffling the ungraded papers on his desk.

ungradedessays

 

We were talking about career choices.  What did I want to do with my life when I graduated?  I loved writing, of course.  I knew I wanted to be a writer. I’d known that since the second grade.  Maybe I’d need to acquire a “day” job to pay the bills, but the nights, the weekends–they would belong to my flights of fancy.

flightsoffancy

 

My advisor smiled.  “If you love it,” he said.  “If you feel called to do it, then it’s right for you.  That’s the way I feel about teaching.”

I nodded, but perhaps sensing I thought he was just issuing a standard company line or that I wasn’t grasping the heart of his message, he went on: “You know, I’ve been teaching here for over thirty years.  I’ve probably forgotten more about writing and literature than most people will ever know.”  He laughed, shook his head, thumbed the thick glasses he wore up the bridge of his nose.  I sensed that, for a moment, his mind was peering back through the decades, wondering at the swiftness of it all, the transitory nature of life.

literature

 

“But I’ll tell you this,” he said.  “Before I walk into that classroom, I still feel butterflies.  I know there are students in there, my students, and maybe some of them even want to go on to become journalists or poets or novelists–just like you.  I have to be able to teach you something worthwhile.  Others? They’re probably taking my course because it’s required.  They don’t want to be there.  But maybe I can light a spark, you see.  Maybe I can inspire them to read something great long after they’ve forgotten all about me.”

butterflies

 

“You get nervous?” I asked.  Somehow the rest of his message had got lost.  After all, in class he never seemed nervous.  And why should he be?  He was one of my favorite professors–always engaging and interesting.  Teaching appeared to come so effortlessly, so naturally to him.

He smiled again.  “Just before class starts, my heart beats a little faster.  I do a quick mental checklist on the lesson.  Yeah.  I get nervous.  But that’s a good thing.”  He paused for effect. “It means I still care.  I still love what I do.  When the day comes that I don’t feel those butterflies before class, I’ll know it’s time to retire.”

retirement

 

********************

On July 3, 1950, New York Yankees legend Joe DiMaggio got word that he was slated to start the next game at first base.  Upon hearing the news, he wondered if it might be some sort of practical joke.  Him play first base?  He was the center fielder, he’d been the Yankees center fielder since his rookie season, fourteen years earlier.  He hadn’t played first base since his days in the minor leagues.

dimaggio

 

But manager Casey Stengel was serious.

stengel

 

The team was in a funk, and Stengel wanted to inject some youth into the outfield.  Inwardly, DiMaggio seethed.  Stengel had just joined the team as manager the previous season, whereas Joltin’ Joe, the Yankee Clipper, had been the star of the franchise for a decade and a half.  But he did not openly dispute his manager.  He readied himself to play first base.

Prior to the start of the game, DiMaggio fielded practice ball after practice ball, trying to acclimate himself to this new, foreign defensive position.  Before the first pitch was even thrown, his uniform was soaked with sweat.  Feeling like the proverbial fish out of water, DiMaggio had never been so nervous.

fishoutofwater

 

During the game, he made no errors, but clearly looked out of sorts.  It was the longest game of his life.

The next day, DiMaggio was back in center field.  He never played first base again.

Later, he was asked why he felt so much pressure.  He was Joe DiMaggio, after all.  What did he have left to prove?  He had already cemented himself as one of the all-time greats, a sure first-ballot Hall-of-Famer.  Hadn’t he earned the right to relax?  Wasn’t his legacy assured?

dimaggioautographs

 

“There is always some kid who may be seeing me for the first or last time,” the Yankee Clipper responded.  “I owe him my best.”

****************

It is one of the tenets of writing, of any form of creative expression–we must first and foremost do what we love, express what matters to us, write about the relationships, ideas, concepts, themes, passions that resonate within, in some deep, secret chamber of the heart.  Whether we are singing opera or crafting poetry or writing blogs–it is imperative that we do what we want to do, what we are called to do.  As soon as we begin creating solely based on what others are doing or expecting, as soon as we force ourselves into a certain genre or form we don’t love, the results will suffer.

writewhatyoulove

 

And yet, and yet . . .

When the time arrives, and we decide to take the plunge and share our work with someone else, be it one person, a hundred, or thousands upon thousands, we no longer are creating in a vacuum.

Our work is now “out there.”  It has become a part of a larger whole, a single grain of sand on an artistic shore that expands, shifts, and evolves every day, every moment.

beach

 

****************

Every time I publish a blog post, every time I share a story with someone, anyone, every time I see a new review of The Eye-Dancers posted on the Web, I feel those same butterflies my old English professor felt before the start of each class.

butterfly

 

Sometimes I berate myself.  Why should I care so much what others think of my work?  Don’t I write for myself, first and foremost?  Isn’t that enough?

And you know, the honest answer is–no.  It’s not enough.  If it were enough, I never would have released The Eye-Dancers, never would submit a short story to a literary magazine, never would publish a single blog post.  My words would simply sit there on the page, locked inside the hard drive of my computer or the folders inside my drawer.

harddrive

 

But that’s not why we create art.  We sing and dance and draw and write to share a piece of ourselves with others.  We write about a personal experience and then, when someone else, someone we don’t even know, reads it and says, “Yes!  I know what he’s saying, I’ve felt that way, too,” a special kind of magic takes place.

magic

 

It is that magic, that sharing, that bridging of the gap between us that makes writing and creating so worthwhile.

So yes.  As I hit that Publish button right now, I do feel a little bit nervous.

I wouldn’t want it any other way.

publish

 

Thanks so much for reading!

–Mike

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