Category Archives: writing

January 11, 2021 · 6:16 pm

Write Like You Mean It

I am guilty of writing satire and parody. Many of the things I have said in this blog are written as firmly tongue-in-cheek. But people will often take you seriously… literally… misinterpreting everything you say. They will, via comment, reach into your mouth, pull out that tongue, and wrap it three times around your neck in order to strangle you with it. (I dare you to take that one literally, all you non-humor appreciators.)

Obviously it helps, when talking about satire and parody, that you define the terms so that your reader has at least a little bit of a sense that the idiot writer actually knows what he or she is talking about and not merely flinging big words and obscure ideas around the room. (And, of course, when I refer to myself as an idiot writer, I am hoping that the reader gets the sense that I am being ironic about the fact that truly wise people are the ones who realize how little they know in comparison to what the universe has available for them to know.)

Parody is when you really love a piece of culture, literature, or art and you then imitate it in a humorous way. In my novel AeroQuest (which has now become 3 novels, and I am writing 4 & 5 too) I make fun of Star Wars, Star Trek, Dr. Who, Flash Gordon, Buck Rodgers, and numerous other science-fiction and adventure-fiction things. The humor tends to come from exaggeration, ridiculous situations, extreme irony, and wry observations about our world embedded in the story. And they are written as a homage, not as an attempt to tear those things down.

Satire, on the other hand, is comedy created where you don’t like a thing and you write highly critical commentary about it disguised as the very thing you are criticizing. My narrator in AeroQuest, Googol Marou, is mostly satire. He is a know-it-all, pompous gasser who often holds forth about what people are really like, how their institutions really work, and how the primary purpose of life in the universe is to blow things up.

So, both kinds of writing, I am obviously saying, are in direct opposition to what my title suggests this post is about. Don’t immediately try to pull my tongue out of my cheek. I told you before that was not literal. It is a joke. The tongue-thing, not my title.

I am completely serious when I say that a writer must write about the things he or she already knows. It also needs to be about things you really care about.

My parody novels, then, obviously show how much I care about the novel tropes and movie-serial action/adventure stories that I am reverently imitating, mostly for laughs.

And I mean it also when my stories refute the ideas that blowing up high-population planets is a good thing, done for fun and sometimes profit. We are, after all, busily destroying this planet to make the living Koch Brother insanely richer.

There you have it, then. The mewling excuses for my egregious attempts at committing acts of both parody and satire. I actually mean what I say, even though you may have to use your brain a little bit in order to understand what I am saying.

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January 4, 2021 · 7:43 pm

Revision and Editing

I have recently embarked on a side project of rereading my own books, marking up the errors, awkwardnesses , and inconsistencies I find in them. In other words, I am giving them a complete third or fourth edit.

In some cases this leads to the opportunity to add illustrations and tweaks to the formatting.

In other cases it offers me the opportunity to remove things that will bother future readers who react to things in ways that I don’t totally understand, but definitely want to avoid giving offense more than I want be controversial.

Some things are not negotiable. The fact that Blueberry Bates is a transgender character is something I mean to defend. It that offends someone, that reflects a prejudice on their part, not mine. I have known real transgender people, and their existence should not be offensive to anyone with a drop of Christian or moral decency in their bloodstream.

No young person should ever have to go through the pain and humiliation the person this character is based on had to endure in real life. No one should be driven to suicide or self-destructive thoughts just because their body doesn’t match the gender in their brains.

But I did change the details in Sing Sad Songs that offended one reviewer. While I still think the physical intimacy alluded to in the story (and I do mean “alluded to” as it was not actually depicted in the scene, only mentioned) was not inappropriate, the story does not suffer from changing the act to a mere embarrassing first kiss. In fact, I kinda regret not making that specific change sooner. Although I am sure that reviewer would still have managed to be offended.

I had thought to make this essay about my novel-writing process an essay about censorship. But the whole project is not censorship. I am changing things now not because my urge to self-censor has come about due to a sudden change to prudishness. I still believe that I am a nudist in my soul even though I am almost never naked. And I still believe that children have sex lives and are entitled to them. I am just being more cautious with how the stories will connect to readers, and I wish to be more sensitive to the characters’ rights to privacy (especially in view of the fact that some of my characters are modeled on real people from my past)(and some of those are actual nudists.)

This essay is about reconsidering and revising my work to make it more effective and sensitive to the needs of the reader. I am not a child pornographer, and I don’t want my work to be looked at in that way. Just as when I was teaching, I never actually touched the children physically (accept for a few accidents, moments of crisis, and breaking up fights) I don’t want to violate young people in my writing. I am not removing all mentions of abuse from stories. But those things are done by antagonists and characters in stories, not by the author in how he or she chooses to describe things.

Vincent Price’s Christmas Tree

A writer can’t really change who he or she is, and she or he can’t really change the basic way by which he or she writes. But you can always revise and edit.

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December 31, 2020 · 5:17 pm

What 2020 Has Done To Me

The year began with me recovering from a bout of flu caught while substituting at Bush Middle School. I had thought it would be the end of me. But, no. I managed to survive. It left me feeling that no mere virus could get the better of me.

Oh, foolish and overly simple me! I had no idea what was coming. I had decided to write a novel set in a residential nudist park in South Texas that I knew nudists from but had never actually visited.

I discovered that my financial situation was headed for disaster if I didn’t earn enough money from substitute teaching. I was trying to pay off my Chapter 13 bankruptcy, and I was committed to paying $2000 dollars worth of our ever-increasing property tax. I wouldn’t be able to earn the money in time to avoid late fees, which meant I needed to earn even more extra money.

I dug down deep and found myself able to substitute teach to the full extent my doctor and the Texas Teacher Retirement System would allow. I was really hitting my stride and enjoying teaching again. I met a couple of kids in classes I subbed for that connected so well, I used them as inspiration for a few things in the novel I was writing, A Field Guide to Fauns. The novel practically wrote itself.

I published it. But it was about naked people. So a majority of people who might be fooled into reading one of my books will never read this one.

I was looking forward, after teaching so much that I could pay off the tax only one month late, to making more money I might actually be able to put in savings for a few minutes. But March ended all hope of that.

The long Covid imprisonment began with one novel published and one more, my AeroQuest rewrite, being more than halfway along.

I found myself with way more time to write and do other stuff than I had anticipated. But, of course, little money to do anything but survive with.

I definitely understood Kurt Vonnegut better in very short order.

I had a chance to reread a LOT of my own writing.

I gave some of my own books a careful reread and proofreading, even updating the content on Amazon. I began collecting my best posts from my daily blog. I put it in book form, becoming not one, but two collections of autobiographical essays.

My quest to put all my teacher recollections, goofy humor and cartoons, and philosophical wacky-waxings into some kind of order, allowed me to get a real sense of the overview of my life as both a teacher and a writer.

But, not only did my number two son get a job with the Dallas County Sheriff’s Department as a jailor, but he got Covid in July as well from his job.

Not only did my number one son find a serious relationship with an excellent young lady, but he was forced to stay away from us and limit contact to the point he almost became a stranger.

And not only did my father’s Parkinson’s Disease get worse, it killed him in midsummer during a surge in the pandemic that meant only my mother and two sisters could actually be at the funeral.

But, in spite of setbacks, I managed to stay Covid-free and read and write way more than is probably good for any human man.

I published or re-published six books during 2020. It is an accomplishment that reflects a fear of imminent death and loss of any further chance to make my writing real, not just foolish fantasies and dreams trapped in my stupid head.

So, what has 2020 done to me?

It has made me fearful of the future. It took away enough of my health that I will never be able to stand in front of a classroom ever again. And it took my father away.

But it has also galvanized me with the heat of the struggle to survive. It has made me more careful, and more appreciative of what life is, and especially more determined to have more of it.

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December 27, 2020 · 8:04 pm

Ugly Christmas Sweaters and the Criticizing of Them

In the Midwest

where I spent my childhood and early youth, there is a great tradition of making fun of the exceptionally eye-bonking ski sweaters and Norwegian-middle-layer clothing that dads and grandads are given as presents less often than only neckties.

Yes, they are functional in the land of 100-degree-below-zero wind-chill. And they also work as defenders of your male virginity when you are in college in Iowa. But we make fun of them not out of derision, but of love. These are gifts, after all, that are given on winter birthdays and Christmas because the giver loves you. And the creative criticism of them is given only as a sign of appreciation for what they are truly for.

And if you tried to click on the X’s on this sweater of mine, and it did not immediately close on your screen, that’s because this one has special meaning. I didn’t get this as a Christmas gift. I inherited it from my father who died in November 2020. And it will keep my heart warm now until it falls apart, or until the time comes to pass it on to my own eldest son.

What…

this essay is actually about is the nature of good criticism.

The fact that this one is a red Christmas tree decorated with lawn flamingos is not the actual point. One has to look past the flaws and try to judge the effectiveness of how it achieves… or fails to achieve… its intended purpose… apparently to keep rats and small birds out of your yard… or from within a hundred yards of the thing.

And…

if I were to be offended by the revelation of Santa’s sexy black thong, then the thing to do as a proper critic is not to use my power to condemn it, but not to take up the critique of it at all. I mean, if you are actually offended by the thing, you would not want to offer an opinion that some would take as a challenge.

“What? You are telling me that I can’t like Santa’s sexy black thong? I will not only like it, I will love it! And I will buy one for myself.”


Following…

the philosophy of the uncritical critic, I would only review this green nightmare sweater of a Christmas mutant demon-dog if I really liked it. Of course, since you are seeing a review of it here, it means I am actually quite charmed by the sweater itself, and amused by whatever seventy-plus-year-old grandmama that has the kitsch-defiant attitude that allows her to proudly wear it… even if it was given to her as a gift by a relative she probably doesn’t really like but, never tells them so.

Doing book reviews one after another (as I have been doing for Pubby in order to get reviews on my own books in return) I have done a lot of the uncritical critic bit. Some of the people I have been reviewing the books of should never have tried to write a book in the first place. But do I tell them that? Of course not. If I have taken the trouble to read the whole book, even though it may be horrible, I am not going to pour cold water on their flame. I have done reviews with innumerable editorial suggestions of what would make it a better story, or a better non-fiction book, or children’s book, or poetry book, or self-help book… I have read terrible books of all of these kinds. And I know the authors did not rewrite the books as I suggested. But in my many years as a writing teacher, I have learned well that you must always point out the fledgling writers’ strengths and ask them to build on those. And some will. Besides the points I earn to spend on reviews of Mickian books, that is reward enough.

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December 25, 2020 · 7:35 pm

To Laugh… or Cry

I have claimed that I am a humorist and all my novels are comic novels, to some degree at least. But it is often pointed out to me that I write about things that make people cry. And I freely admit that I most certainly do.

But if you think about it carefully, analytically, or even emotionally, you have to admit, even a book like Mark Twain’s The Adventures of Huckleberry Finn has some weep-worthy moments in it. I have read the book more than once myself, and I never get past the scene where Huck looks down at the body of his young friend Buck Grangerford, killed in the Shepherdson/Grangerford feud about something nobody living even remembers, without shedding gushers and gushers of heart-busting tears.

And in Charles Dickens’ David Copperfield, as much as I laugh and guffaw at the antics of quiet Mr. Dick and his kite, or the much deserved downfall of villainous Uriah Heep, it is the drowning of Little Emily on the boat with David’s school friend and idol Steerforth that leaves me surrounded by puddles… nay, lakes… that I have wept.

And I think that I may justify the sad parts in so many of my weary works with the fact that I am merely providing the necessary counterpoints to my merry-making and mirth.

Francois is a character from Sing Sad Songs.

There has to be that necessary balance, that well-rounded-ness, to a story that makes it feel truly complete. And, of course, we know that even in a horror novel by Stephen King, you find humor used as a balance point to lighten the moments just before the monster delivers its liver-shaking, earth-tilting scare.

My novel, Snow Babies, is still free just for clicking on it at Amazon books https://www.amazon.com/gp/product/B077PMQ4YF/ref=dbs_a_def_rwt_bibl_vppi_i7

Snow Babies, among my published books, is a good example. It is a story that celebrates how a small Iowa town comes together to survive a deadly December blizzard. And while it tells funny stories of kooky characters battling the elements, and both surviving the blizzard and ’84 Reagan/Mondale political debates, as well as putting up Christmas trees, it is still also about death and loss of loved ones, finding and losing love, and just what sort of self-sacrifice or other accidental happening truly makes someone a hero. Or a bus driver… this book has more than one bus driver in it.

So, I think, in the end, that I have made a cogent case for the notion that in order to be a humorist, you have to manipulate many emotions, not just mirth, but sadness also. As well as fear, bitter irony, and pain. And that may well also be the underlying reason that comedy is harder to write than tragedy.

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October 12, 2020 · 3:04 pm

Time and Destiny

He sat down to write something for the day. He rolled a fresh sheet of typing paper into the typewriter. Then he sat back to look at it. It was a totally horrifying stretch of cold, blank nothingness. There was nothing there. It left him feeling completely and hopelessly alone.

How do you connect with that person who is going to pick up and read the final copy of this thing once it is finished? His brain hurt thinking about it.

He knew that he needed to get started. And he wanted to start with something colorful.

So, he typed a word; RED.

“Well, that’s a start, at least…” he said, talking foolishly to the inanimate typewriter. “But what do I really mean by saying RED?”

Well, of course, red means emotional things, anger, love, shed blood, tomato sauce on Chicago-style pizza…

…But how do you make an actual idea out of that? It needs to be stretched some and pulled a lot. Bent out of shape, maybe even smashed by a hammer.

The typewriter became concerned and alarmed at the mention of the hammer.

But the writer was only thinking about the hammer. And the typewriter didn’t read minds. Heck, it wasn’t even electric yet. It was a typewriter that the writer’s grandmother bought in the 1940s. And writer loved it because it reminded him of her. And it reminded him of her letting him type his very first story on it when he was six years old. He wrote a story about a skeleton chasing a dog. And when the skeleton caught up to the dog, the dog ate him. Because he was bones. It was a short story. Very short. Less than a page. Because grandma only had one page of typing paper left on her desk.

And the story wasn’t red. So, why was he even thinking about it now?

Well, it was read. By his grandmother. And she laughed.

And he hadn’t thought about it until right now. But it was the moment he knew he wanted to be a writer some day.

And, so… Right now… This very moment… He realized… The real story is ready to begin,

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August 6, 2020 · 6:27 pm

How is it Humor?

Mickey intends to pontificate again… This will not be funny.

I write novels that I think of as being basically humorous. But I have had readers ask of me after reading them, “What the hell makes you think these stories are funny?”

And besides the fact that they are invoking the name of the Norse goddess of the underworld, they do have a point.

My stories have unsavory things in them. I have stories where the plot is driven by the conflicts caused by physical and emotional child abuse, a pornographer who becomes a murderer when denied the opportunity to make kiddie porn, a father abandoning his wife and daughter through suicide, fools causing others to freeze to death in a blizzard, murderous robot hit-men, space pirates that kill a quarter of the population of a high-population planet, and lizard people from outer space that eat human flesh and each other. (Of course, one could argue the last few things are dark humor created by gross exaggeration and random bizarre details.)

A girl who always got an “A” in English class because the teacher couldn’t be sure she wouldn’t turn into a werewolf and eat him.

But not everything in a comedy is a laugh line. I would argue that a perfect example of a comic novel with dark things in it is The Adventures of Huckleberry Finn. That novel begins with a slave running away from a kind mistress because he is to be sold away from his family., and a boy who narrowly escapes death by the rages of his drunken father and runs away to protect not only himself, but the kind widow who took him in after the events of the previous novel, The Adventures of Tom Sawyer.

In the course of the novel Huck sees his young friend, Buck Grangerford, killed during a pointless family feud between the Grangerfords and the Shepherdsons. He comes upon the body lying in a creek, and no laughter is generated by the scene.

Further, two snaky old con men, the King and the Duke, try to steal away everything from three girls, newly orphaned, by posing as two uncles come to take them back home to England. Huck is forced to aid them as his friend Jim is held hostage and threatened with a return to slavery. There is plenty to laugh at, but not until Huck manages to do the right thing and commit the King and the Duke to their well-earned tar and feathers.

The Telleron kid-aliens who do not get cooked and eaten in Catch a Falling Star and Stardusters and Space Lizards.

Comedies, I would argue, have to have conflict, and some of the best comedies have terrible things in them that the characters you learn to love and laugh with have to overcome. It is in overcoming hard things with love and laughter that a comedy is made different than a tragedy. The comedy does not depend on the laugh lines. In fact, some of the hardest-hitting tragedies have laughter scattered throughout.

I am not trying to educate you. I am merely offering excuses for why I call my stories humor when they often horrify and upset readers. (How dare he write about naked people!!!) But if you learned something, I won’t be terribly disappointed.

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August 5, 2020 · 5:52 pm

The Essayist

I have been working on compiling good essays from this blog into book form. It is becoming a sort of obsession. The problem is, I am likely running out of time. My health is getting worse in the middle of a pandemic that is killing thousands of people just like me. I have been having problems with passing out during the midmornings repeatedly for several days in a row. I fear I may be headed towards heart failure or a stroke. And if it comes down to an ambulance ride, I can’t afford it, and I will not economically survive it. And all the intensive care units around here in North Texas are swamped with COVID patients. It is important for me to finish and publish this book of essays. It is part of me as a writer that I simply must leave behind.

“Why are essays important?” you may ask. And here’s where I would normally insert a joke answer. I try hard not to take myself too seriously. It is the only way I can deal with what has been a very serious life. And at the point in my essay book where I will insert this essay, I will not need to review what those things are that are so serious. (Being a teacher and shaping young minds. Being a sexual assault survivor. Helping teenagers to live through suicidal depressions. I know, I know, I should’ve resisted the urge to list them.)

But I have spent a lifetime teaching kids to write four-and-five-paragraph essays. And I am also a serious reader of essays. I have read and thoroughly studied Loren Eiseley’s The Invisible Pyramid, Henry David Thoreau’s Walden, Collected Essays by H.L. Mencken, selected essays by James Thurber, Life as I Find It: A Treasury of Mark Twain, Charles Lamb’s Essays of Elia, and parts of John Ruskin’s The Stones of Venice. I also thoroughly loved and used as a teacher All I Really Need to Know I Learned in Kindergarten by Robert Fulghum. So, I do not claim without reason that I do know something about how to write an essay. (Although you are welcome to disagree based on numerous bits of evidence in this goofy blog,)

At this point I am obligated to define for you what I believe an essay should be and what its potential uses are. An essay, simply put, is a pile of a fool’s best thinking put down on paper in prose rather than being distilled down into lines of poetry or embroidered and expanded with lies to make it into fiction. At its best it can open reader’s mental eyes and change societies, if not the entire world. At its worst it can incite violence, stir hatreds, and generally muck everything up. My essays land somewhere between, in the realm of mildly-amusing purple paisley prose that can really waste your time.

An essay, because it is based on truthful observations, can rip away the costumes and masks that authors put on to write fiction and make that educated fool of an author metaphorically naked in front of the reader. After blogging like this since 2013, I admit to having no real secrets left that I have not at least mentioned in my blog somewhere. I am less naked when being a sometime-nudist than I am in the sentences and paragraphs of these essays.

Now that I have thoroughly convinced you that you made a big mistake by reading this far through my essay compilation, I will reveal the fact that I have put this essay somewhere closer to the end of the book rather than near the beginning. Like all essayists, I am a fool (hopefully in the Shakespearean wise-fool sense), but I am not stupid. So I won’t laugh at you for falling for my tricks, but I can’t promise not to be at least a little bit amused. But time is short. So, on to the next essay!

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June 29, 2020 · 9:09 pm

Character Developments

If I am ever going to sound at all like an author talking about his craft, then I guess there is really no better place to start than with character development.

This is the first illustration in my work in progress, The Wizard in his Keep.

One of the most important factors in starting a new novel is how you put together the jigsaw-puzzle pieces that are the characters. I have had the characters in my head since about 1974. Daisy Brown and her two younger brothers, Johnny and little Mortie (short for Mortimer Snerdly Brown, named after his Great Grandpa Mortie and his Grand Uncle Snerdly) are the three characters that the story starts with on the night of the car accident.

Notice that the plot throws the three children above directly into a conflict right from the start. They were all in the back seat of the car. Their parents were in the front. Dad (who’s name is Brom, short for Bromley Mortimer Brown) has a bad reputation for reckless driving and being an alcoholic. He is driving. But he is sober. Mom (who’s name is Stacey Clarke Brown) is in the front passenger-side seat. Both of them are killed in the wreck. (Ironically the young man who hit them also dies, but he is the one guilty of drinking and driving on the night of the accident.) Some of those details come out in the first two chapters. Some of those details never actually come out in the course of the story. That’s the thing about characters, the author must have an idea of all the important details of their lives from early on in the creation process. But many of those details are not necessary to use in the story. You just need them so that you sound like you know them as you write about them.

Let me start by describing the development of my protagonist, Daisy Stacey Brown. She has been the protagonist of this tale since 1974. She was originally based on the younger of my two younger sisters. That is where the adventurous spirit comes from. And the slightly ditsy quality of her highly-imaginative inner monologue comes basically from my sister’s daughter who was born about 1993-ish (and the story, of course, happens in 1996, so it is based more on the present form of my niece shoe-horned into Daisy’s fifteen-year-old skinny body). Daisy is followed as the focus-character in a third-person-limited-point-of-view narrative. Here is a sample of that described in the story’s opening and filtered through Daisy’s unique brain;

The sound of the ambulance siren was raucous behind the car, like someone trying to play an AC/DC medley with a circus air-horn.  And a clown playing it who was drunk on too many pre-show hits from the gin bottle in the straw at the bottom of the lion cage.

It kinda made Daisy smile to think of that analogy.  She needed something like that to get her mind off what had happened that horrible night, a mere half an hour before.

I haven’t given any physical descriptions of Daisy in the first chapter of the story. Those things are slipped in later in nearly unnoticeable bits and drops. The fact that she has strawberry-red curly hair doesn’t get said until well after the reader sees it in the black-and-white illustration. Her skinniness, pale coloring, and awkwardness will be in descriptions that happen later in separate and isolated spots.

Far more important is the way her mind works, which I try to show rather than tell. She is one of those people who is both innocent without being ignorant, and imaginative without being merely random.

Other characters will be established too with an eye on what they are like at the beginning, and a mindfulness of what they will become as the plot changes them over time.

Johnny is a sad-sack introvert who blossoms as he overcomes problems associated with the initial tragedy. He grows as he proves to himself that he is neither a coward nor a fool.

Mortie is unflappable from beginning to end in the way small children often are. He possesses a powerful sense of wonder that overwhelms fear and sadness over his losses.

That is probably enough of an insight into how I am shaping these characters for now. If you look inside this process too closely, and compare it to my last post, I run the risk of letting you see how I may be using this story to process my own upcoming loss of a parent. The pandemic and my father’s Parkinson’s disease ironically is hitting this story with enough irony to iron out more than just the wrinkles. It may well iron me flat.

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May 27, 2020 · 7:02 pm

How to Make a Mickey

Milt Morgan is me as a boy

It is a fairly difficult thing to face a blank page every single day. I usually win in the battle to write something every day. But not always. Some days it is just too hard. Some days I am not well enough to make my stupid old brain spin up a spider-web of words. Some days the words are just Teufelsscheiße (poop coming out of the Devil in German).

But staring at a blank page today got me thinking about the process again, how the words come, where they come from, and why.

I just finished the most successful free-book promotion I have ever had. I gave away more books than ever before, and I gave some away every single day of the promotion. Some who downloaded the e-book even thanked me and told me they would read it. One even promised to read it right after he finished reading one of my other books.

Of course, you can see that this novel has nudist characters in it, and it is even set in a nudist park. So, naturally, the copies were mostly grabbed by members of the Twitter-nudist circle of friends and acquaintances I have on Twitter. But it is thrilling to know someone is actually going to read one, or even two of my books. I haven’t gotten enough of that feeling as an author. It is one of the main purposes of my writing, to have readers.

But this post is supposed to be about process, not publication. So, how did I come to write this thing? This nudist novel and this blog about writing it?

Well, like most real writers, I choose to write about what I know. And I am acquainted with naturism. I had a girlfriend once whose sister lived in a nudist apartment complex in Austin. I was inside that place a dozen times or so. I have also been to the nudist park north of Dallas. I have experience of nudists and at least some idea of what it is like to be one.

And the characters in the story are all based on real people. The main character is at least fifty percent me. The other fifty percent is a member of my family. The stepmom in the story is a combination of two former girlfriends. Her twin girls are partly based on my twin cousins (who have never been nudists) and on twin girls in my class in the 80’s (who lived naked at least once in a while, if not as much as the twins in the story).

But the critical themes in the story are not really about being a nudist. Naked is a metaphor for honesty, being able to hide nothing because you no longer wear the armor that you once used to hide from repressed memories of abuse. The main character, Devon, is battling depression and suicidal thoughts brought on by a life full of abuse. And he learns to overcome these life-threatening things by being honest with others, especially by being honest with himself. A little bit of naked honesty turns out to be the key that unlocks his prison cell.

As I put words and stories and blog posts together, I invariably find myself writing about certain things over and over and over again. They are the things I wrestle with daily. I write to keep my mind active, and to keep my heart and soul alive.

It isn’t too much to expect to look at a blank page every day, and to find there the words that I need to say. It is daunting, but doable. And it gets easier with practice.

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