On Letting It Rip

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Two quick stories today. Followed by an arrow to the heart of writing awareness.

Fifteen years ago I gave a presentation that I hadn’t prepared for, and will never repeat. It was at my mother’s funeral, and because our family tree is more like a shrub, it was to a room full of folks who for the most part hadn’t seen or spoken to her in years.

When the time came to invite anyone in the room who wanted to “share a story about Dorothy,” the room fell deathly silent. I mean, the woman wasn’t exactly Lucille Ball, if you get my drift. You could hear the pastor’s watch ticking.

I decided to break the silence, for her sake if nothing else.

Here’s the story I told. 

My mother’s golf swing looked like a slow motion Youtube video. So slow you could read the word “Wilson” stamped on the top of the wood driver mid-swing (this was long before composite clubs, when woods were the size of a stale biscuit). She defended this as something a golf pro had told her during her one and only lesson: swing slow and easy, let the club do the work.

My mother had steadfastly applied that advice, which she perhaps misunderstood. The longest drive she’d ever managed was about 80 yards, the first four of which were airborne and the rest explained by a fortunate downhill slope on that particular fairway.

“Mom,” I said, “do me a favor, please. Just hit the freaking ball. Slam the living sh*t out of it, okay? Just once. Your golf pro won’t care, he died twenty years ago.”

She looked at me as if I’d suggested that Dwight Eisenhower was a liberal chain smoking hippy.

“I’m serious,” I continued. “Live a little. See what happens.”

Prompted by her blank stare I added, “Just let it rip.”

She shook her head, awkwardly addressed the ball, then took what was, for her, the most physically intense undertaking I had ever seen her attempt, short of running to the bathroom after too much Kentucky Fried Chicken.

The swing wasn’t pretty, but the ball took flight.

It flew high and straight for nearly one hundred yards, coming down about thirty yards short of the green, bouncing and then running until it stopped three feet short of the manicured criss-crossed perfection of the green.

Following a frozen moment of disbelief, she dropped her club and ran to me for a hug, nearly picking me off the ground in the process.

She let it rip. One time. For me.

Then three-putted for a double bogey. She was ecstatic.

It was the last round of golf she ever played.

Then there was my son.

Ten years old, his first year of Little League. His coach was one of those guys who wore his Polo collar straight up, whose last game as a player was the day before he was cut from his freshman baseball team. This perhaps explained his enthusiastic use of instructional videos from the likes of a nearby community college coach. There were enough complex hitting principles to make NASA blush, rules more apropos to college and professional players, rules that Coach nonetheless insisted these 10-year olds memorize and practice religiously.

Before the first game my son and I went to the field to religiously practice all those rules. After a dozen whiffs of my underhand soft toss pitches, swings taken from a stance that looked more like a freeze-frame from a figure skating video than baseball, I could see an alarming frustration in my son’s eyes.

I went to him and got down on one knee. He was on the verge of baseball tears, eight years after Tom Hanks assured us that there is no crying in baseball.

“Listen,” I said. “You remember how you pounded the ball two weeks ago? Before all those videos?”

He nodded, struggling for eye contact.

“Do you remember what that felt like?”

He nodded again, eyes wider now. “Yeah, but that was before Coach told us to stand in there like Derek Jeter and swing like Larry Walker!”

Quietly I wanted to suggest to Coach that he consider parking those videos where the ballpark lights do not shine.

“You want to hear a real hitting secret?” I offered. “Something only the pros know about?”

He nodded, wiping his eyes.

“Those videos?” I began. “They’re not wrong. But you don’t need any of that right now. Just get in there and swing the bat. Your way. Trust what you’ve been taught before, the stuff you already know in your gut. Swing like you used to. Hard and smooth. Rip the cover off the ball. The only thing you need to remember are the basics I taught you, beginning with keeping your eye on the ball. Besides that, swing like you mean it. Swing like you, Okay?”

He was ten. Derek Jeter’s batting stance could wait.

He swung at and missed my next pitch. But he swung hard. His old swing. Didn’t say a word, either. He just resumed his old familiar batting stance and waited.

The next swing launched a line drive that hit me squarely in the crotch. As I doubled over I managed to look up at my boy.

He was jumping up and down, turning in happy little circles that only 10-year olds understand.

He didn’t play much that season, because Coach Polo demanded memorization of all those “principles of hitting.” The team came in last place, for precisely the same reason.

Later that same year, around Christmas or so, my son came to me and asked if he could be a pitcher. “Like you were,” he said.

I smiled, it was one of those moments I would never forget. I told him, “Of course you can. There’s only three rules for pitching, for now. First, never wear your shirt collar turned up, you’ll look like a douchbag. Two, no curveballs. Not for four more years. When you’re in the running to turn pro, then let’s worry about all those things.”

He nodded excitedly. “What’s the third rule?”

“When you get out there,” I said, putting my hands on his little shoulders, “you gotta let it rip. I mean really bear down and throw the crap out of the ball. Doesn’t matter where it goes as long as it’s somewhere close to the plate.”

“Let it rip,” he repeated back to me. Then he smiled. “Like you did.”

Memories of the best years of my younger life, a time of hope wearing a Texas Rangers uniform, flooded over me as I held my little boy close, my own eyes resembling his that day on the field, right before he hit me in the crotch with a line drive.

At last, the point for us as writers.

When you’re ready to turn pro, then you need to worry about all the principles and rules. If anyone tells you there are no rules without adding but there are a whole bunch of principles… run.

Advice, in writing or anything else, isn’t always as simple as it seems. For example, in his bestselling writing book, “On Writing,” none other than Stephen King advises his hopeful acolytes to do this: just sit down and write whatever comes to you.

This, my fellow authors, is perhaps the worst possible advice to come from the lips of someone who should know what they’re talking about… ever.  Because it is completely without context and setup, the meat of which is where value and meaning reside, leaving his unvetted comment to sit there, easily and too often misunderstood, costing many tens of thousands of less experienced writers years of their writing life trying to make that sketchy advice work for them, before realizing the hard way that King forgot the context.

Which is… when you know what I know, King forgot to mention, then you can “just write.”

“Just write”… only after you’ve been introduced to, have assimilated and digested and totally own, have witnessed in the stories you love and those that succeed, the fundamental principles of fiction and dramatic theory that reside at the core of everything literary, most of which is invisible or at least irrelevant to casual readers who simply want to be scared or seduced or entertained for a few lost hours of reading.

But never invisible or irrelevant to the writer they are reading.

Once all of that stuff is in your head, once it has gelled and become the paradigm and criteria for the stories you write… once you reach that place in your writing journey…

… once you know, to a reasonable degree, what Stephen King knows…

… then and only then is it wise, productive or even reasonably hopeful to just sit and write.

To let it rip, if you will.

Do this too soon, before you truly understand what makes fiction work, and it’s exactly like telling a medical student in her first semester to “just cut, just grab the scalpel and dig in, see what happens.”

This is an apt analogy because what we do in writing a reasonably effective novel is nearly as complex and perhaps even more nuanced than, say, taking out an appendix. This from a brain surgeon by day and aspiring novelist by night who sent me an email to this exact effect.

Because unless you are one of two things – extremely lucky, or a borne literary savant genius – then a story poured nilly-willy from your head without an awareness of what makes a story work, no matter how good your original idea may be, will get you absolutely nowhere other than rejected, provided you even finish such a manuscript all.

So go ahead, let it rip. 

At least nobody will bleed to death as a result. Except, perhaps, your writing dream. That might just die as a result of operating without a clue.

Until you are truly informed and ready, keep one eye on the principles that will elevate your work, rather than the hasty, half-blind, hubris-driven advice that will tank it.

And when you are ready, the blissful freedom of writing from your gut and your heart and your passion will become precisely what may have been rightly set aside as you struggled to embrace the very principles that will empower you now.

Let it rip.  May that be your process… someday, when the time is right.

 

Larry Brooks’ new writing book, Story Fix: Transform Your Novel From Broken to Brilliant (Writers Digest Books) releases October 2015, and is available now for pre-order.

Photo by Jason Rogers

 

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About Larry Brooks

Larry Brooks writes about story craft, with two bestselling books out on the subject, and his third book – Story Fix: Transform Your Novel From Broken to Brilliant – (with a Foreword by Michael Hague, and generously blurbed by several of the authors here on Kill Zone) releases in October from Writers Digest Books.

30 thoughts on “On Letting It Rip

  1. Wise words, Larry. I often use the golf analogy. It’s on the practice range, and under a good teacher, that you learn your swing and other fundamentals (because, if you don’t, you can ingrain bad habits hard to break). You practice. You do drills.

    But when you actually go out and play, play. Don’t go over a mental checklist of the 22 things to remember at point of impact as you swing the club. Play! Have fun. Rely on “muscle memory.”

    When the round is over, think about it. Think about the things that went wrong, what you could have done better, where the weak areas are. Then schedule practice time to address those things.

    The pros all have coaches. After a round they’ll get with their coach and work on adjustments. That’s what editors and good crit partners are for.

    And, I might add, good books on the craft that help us fix what needs fixing. Like a certain book about to be released….

    • So glad to hear that you’re using the golf analogy, too. I bet you don’t get ripped, like I do, for overkilling analogies (can’t help myself, they’re such perfect teaching tools)… I need to remember that “less is more” on that count.

      Thanks for your kind words, your wisdom, and for the generous blurb for “Story Fix” (the book). Much appreciated.

  2. “Sometimes you ask, as I had done that very morning, and sometimes it is given. It is what we do with these opportunities that charts the course of destiny. It’s my life, it’s now or never…so sayeth the great sage Bonjovi. Most of us are one of two things: blind or chickenshit. We wouldn’t know a crossroads in our lives if it had a set of stoplights and a Denny’s.” ~ Wolfgang Schmitt, Bait and Switch

    Awesome advice as usual, Larry! *waves from NH*

    • Sue… you’ve totally made my day. When someone quotes something you’ve written, that’s, well, a perfect thing that cuts to the heart of why we write. So thank you for that.

    • Thank you, Elaine. It was one of those moments that doesn’t get fuzzy over time. Have fun with that final stretch for your novel, it’s so much fun when the dominoes that precede it are perfectly aligned.

  3. Three marvelous analogies. I was riveted to this post and enthused at the end. You had me taking notes on how to change my WIP. Thanks so much, Larry. Great job.

  4. Hmm. I think I’m in the ‘Let it rip from the start’ category. I don’t do much practice, but I tend to write fast and analyze along the way. More a ‘Ready, Fire!, Aim’ approach to the whole process.

    Every time I feel I’m starting to settle on my writing, I track down a new book. About twice a year, I hire a writing coach. When I out-grew the first one, I found a better (for me, at this time) coach.

    To mix things up, I’ll go to writing events. This year, it was Worldcon (which was very disappointing – much nastiness among the community) for two days and sixteen panels.

    And I had to laugh about pitching. I had a heck of a fastball, but no idea where it would end up. I was happy just to be over the plate. My brother didn’t have the velocity but did have pinpoint control. Our coach would have me start the game and get every body backed off the plate. Then my brother would come and eat them alive on the corners.

    • Thanks Paul… sounds like we have a lot in common. Including a heater that didn’t always find the plate as planned. Best of luck with your writing, maybe I’ll see you at one of those writing conferences soon.

    • I just got back from WorldCon Monday. I had a good time (other than having my car broken into), but I agree the attitudes about the Hugos were unpleasant.

      I’d recommend the conference Life, The Universe, and Everything over in Provo, Utah in February (http://ltue.net/). Cheaper, three days long with 10 hours of programming a day and up to 12 tracks, mostly focused on writing.

      I’m in a similar situation for writing. I’m trying to establish those ‘write every day’ habits at the same time I’m learning as much as I can. I don’t feel like I learn as well unless I practice some of the skills.

  5. Hey Larry,

    I wish I’d read this when I first started writing. It was like I became lucid to storytelling when I finally discovered the story structure living inside novels, flicks and more.

    Also, I really enjoy it when you tell personal stories in your articles and bring it all together. It helps me process the info and better connect.

    Thanks all around!

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  7. I loved this post. Made me laugh out loud. Especially the line about never trusting a douchbag who wears the collar of his polo shirt up. I dated that guy. Once.

    Thanks for making my day. Have been constipated with my chapter for days. Am now off to let ‘er rip.

  8. Larry, I, too have a neat baseball story. It’s for another time. It’ll never be told around a campfire. I’m afraid of bigfoot.

    But I simply have to thank you for your advice to “LET IT RIP.”

    I had a story in mind. As I developed it, I realized it was more than about finding a little boy who had disappeared when his mother was murdered. I wrote it out. Before I had it finished, I just knew there was a romance, and another story in the mix.

    I have a certain disdain–I have a crooked smile, a mocking way of walking when I show it–for those who crow that back story is verboten. Of it you must, keep all back story under two words. Otherwise, the masses of people who thought of buying your book will put it down and move on to James Michener or Tom Clancey who have . . . uhm . . . no back–.

    So I ignored them. I let it rip.

    My book is due out this fall.

  9. I love these stories you shared. I think the “let it rip” phase for writers is the story development phase when you’re just first starting to play around with an idea. That’s the perfect time to just let it rip and see what happens. Once you find your story then and only then would you think about writing the story.

    • I agree. That brainstorming zone is really a let it rip moment. Then it happens again, on the other side of craft, when you own it to the extent you can’t unsee it or violate it… that, too, is a let it rip phase. Sort of like an athlete who honors the lines in the field and the rules of the game, and within those parameters lets go and, well, lets it rip. Thanks for chiming in!

  10. Referencing your reply to Jim Bell~

    “Less is more” is also the object of golf, isn’t it? (Well, maybe not the way I play…).

    Great post~ especially given I have/had golfing wanna-be parents and a son who pitched through high school (but wound up working with the basketball team in college).

  11. Great post that applies to more than just writing. Too often people feel they must blindly “follow” the rules rather than adapt them to the situation. If everything was black and white, there’d be no color. To me, the best writers are those who bring color to the page.

  12. Excellent post, Larry. As someone who’s done both (the appendix thing and the novel thing), you couldn’t have said it any better. The surgeon who taught me two decades ago said, “When you can tie a surgical knot behind your back with either hand, you can join me at the table.” The writing instructor who taught me about story structure was you. The lessons have much in common, as do the results: If you can do either thing wearing rubber gloves and still not have to think about it, you might be able to tie everything up nice and tight and deliver a good result. It’s your name on it, why wouldn’t you?

  13. Larry, this was a bit personal for you, LOVED IT! Since I come from a real estate background, here’s a non-sporty analogy to add to yours; Writing a novel is like building a house –it’s more economical (time, energy, sanity) to build a new one from the plans up than to rehab a flawed design, with a sagging, faulty-wired skeleton built on a cracked foundation.
    I’ve done both, in real estate and in writing a novel; your advice is spot on. Thanks, Mindy

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  15. My favourite post of all time that you’ve written Larry. From the heart indeed. Beautiful.

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