Disquiet on the Set

in

By Amy Jarvis

cvdop-limbocker-441156-unsplash (2).jpg

My short-lived, somewhat volatile film career started with being cast as an extra on the television show One Tree Hill. I was enthralled with being on a film set: the lights, the cameras, and, in one particular episode, finding myself standing next to Chad Michael Murray (who was, of course, a major heartthrob at the time) on a Wilmington street that had been transformed into another city, while passersby grouped together and watched the show being filmed.

After appearing in eight episodes of the television show, I began submitting headshots to other production companies. It wasn’t long before I landed a featured extra role in the movie River Guard. My role was simple – one of the primary characters was the bartender, Banger, and in the scene we were slated to film, I was to portray his on-the-side girlfriend. I watched the director as he pointed to my starting point, explained that I was to approach the bar, act as though I hadn’t seen Banger in a while, and he would do the same. My nerves jumbled in my stomach the first time I stood on my mark and heard the countdown of quiet on the set, rolling, background, action. I approached the bar, climbed onto the stool. Banger looked over and threw his arms up. I smiled at him. Then he leaned on the bar while we pretended to talk. I playfully touched his arm, laughed silently, and drank my vodka cranberry—minus the vodka—being careful to make sure the ice didn’t clank against the glass because the boom mics would pick up the noise. The actor who played Banger reassured me that I was doing great, each time we reset and repeated the scene, over and over.

In the following scene, I was directed to leave the bar, which meant counting down and walking across the dolly in front of the camera. But I was still reeling with anxiety, which resulted in my moving into frame several seconds after my cue, which forced me to cross the dolly more quickly to compensate, which caused me to accidentally kick a misplaced paint can, which in turn tipped over with a bang and rolled, until it collided into the wheels of the camera. I froze, my heart pounding against my rib cage, and looked around the set, at everyone staring in my direction.

There was a painfully long silence that followed, in which the only sound was the paint can rolling, until it came to a merciful stop. The director cleared his throat, yelled cut. Then they started the scene again. This time without me.

*

Following River Guard, I landed a featured role in the movie The Remaining. I was sitting in the front row of a church with several other extras. The scene was to be about the survivors of a religious apocalypse who find themselves under attack. While we waited for filming to begin, another extra sat down beside me.

“You’re perfect,” she said.

“Excuse me?”

“You’re perfect,” she repeated. “For film.”

She told me she was the costume designer for River Guard and that she had noticed me on the set. I stared in an effort to place her. Her spiky hair, lined eyebrows and lips.

“How tall are you?” she asked.

“5’2,” I said.

“No you’re not, you’re 5’3,” she said. “What size are you, two or four?”

“Two or four, depending.”

She nodded thoughtfully, still appraising me. “You need an agent,” she said. I didn’t tell her I already had one. “You’re the next Shailene Woodley or Lily Collins. The industry will love you.”

Several minutes later, she retook her seat across the aisle, and the director approached and offered me a featured role. As he instructed hair and makeup to make me look as though I had just survived an explosion, I looked back over at my spiky-haired acquaintance. Told you, she mouthed.

The Remaining[9722].jpg

The scene in The Remaining was as follows: I was supposed to be watching the news on an iPad and reacting to the devastation. Several main actors would be around me, and they would do the same. The director stood in front of us, the camera placed directly in front of my soot-covered face. One of the crew members turned on the string of LED lights around the screen (since electronics don’t actually work in film; it’s all CGI), and the director began his countdown – quiet on the set, rolling, background. My muscles tensed. Action. I imagined meteors falling from the sky, people being attacked, dust, rubble. I knitted my eyebrows together and bit my bottom lip. I was so determined to make sure my acting was on point that I felt nauseous when we cut twenty seconds later.

In an effort to soothe my nerves and the lightheadedness I felt, I stared down at the iPad. After a moment everything became a blur. The room narrowed.

“Can we get some emotion out of you, Amy?” the director asked.

I looked up, confused. That’s when I realized that in my anxiety-induced state, I hadn’t heard the director’s count. We were filming the scene again, and I was staring blankly at the iPad at what was supposed to be devastating news. I swallowed, narrowed my eyes, and exhaled a slow, shaky breath.  

“Good. There you go,” the director said, before calling cut twenty seconds later.

Following my featured scene, we moved on to the second scene of the night, in which demons attempted to break through the ceiling of the church. Only there were no demons, no loud banging, nothing shaking the rafters. The director explained that he would count, and gave us specific spots to look at with each number. I held my breath as the director counted down to action.

One. I gripped the row in front of me and looked forward, toward the altar. Two. I cowered in my seat. Three. I looked toward the back of the church and pretended to scream. Four. We reset and did the same thing, over and over again.

Amy Jarvis is a graduate of The Mountainview Low-Residency MFA in Fiction and Nonfiction.

Hats (Excerpt)

in

By Curtis J. Graham

pexels-photo-231014.jpeg

Sergeant Ticker was a third battalion Kill Hat at Marine Corps Recruit Depot, Parris Island. He was not authorized to speak to recruits, only to punish them creatively. During the day, he forced them to wear each other’s uniforms and fill their pockets with mud. He made them windsprint throughout the dinner hour until there were only five minutes left for eating. He denied them use of the bathroom until one of them pissed their trousers. But at night, Sergeant Ticker told stories, and the recruits listened.

He was careful never to overindulge. The moment he suspected the recruits were humoring him, feigning interest, he would deprive them for a time. He’d say they had mistaken his kindness for weakness, and he’d make them do something hot and difficult until one of them fainted. After a week or so without any stories, the recruits would send a representative to his office at the far end of the squad bay to ask for the next installment.

Ticker told his recruits the adventures of Sergeant Hayfield, a character he’d been refining since he was a Corporal. The idea for Hayfield came from a World War One recruiting poster. It pictured a square-jawed Marine with a crooked smile. His khaki shirt was sunbleached and wrinkled. He wore a canted helmet and carried a rifle made of hardwood and steel. He was extending his empty hand, inviting you inside his world. “Want Action?” it said. During his two cycles at Parris Island, Ticker had crafted a legacy for Sergeant Hayfield. After lights out, he would pace the center causeway and tell the stories he’d imagined.

“We left Sergeant Hayfield in Belleau Wood, France. The skirmish is over, an Allied victory. His platoon has fallen back to safety, and he alone has remained to fight the scattered enemies. It’s dawn now. There’s mist rising through the trees, and frost on the rocks. Hayfield stumbles through the undergrowth. He’s ditched his M1 in favor of a single shot Gewehr. Dead Germans are spread out like squirrels, and ammunition is readily available. His fingers shake from the cold as he feels their pouches and pockets for bullets and bread.”

The recruits knew better than to tell the other Hats about the stories. Ticker had promised he would punish them beyond words. Further, they would never know how the adventures ended. Near the end of each training cycle, Ticker would leave the recruits with an incomplete story. If they survived their Crucible and became Marines, they could find him on graduation day and hear the final installment. He left the offer open, but no recruit had ever come to find him.

* 

His daughter Mindy had grown fat, and for this reason, Sergeant Ticker found her difficult to love. Mindy had grown up quickly in seven years. She had a cell phone and small friends who slept over and put makeup on each other’s faces. One morning, Ticker came home to find her lying on the couch eating Cap’n Crunch, dry and by hand. He’d just wrapped up an overnight shift that involved monitoring a suicide case, a night of pointless vigilance. Seeing Mindy, he nearly kicked over an end table. She’d been gaining weight gradually, but now her wrists were as wide as her hands. He made the decision to drive her to the base hospital. He scheduled appointments for her with pediatric nutritionists and cardiologists. It was time for a change. In the weeks to come, letters arrived in the mail, test results. Mindy had a mild condition of the pituitary. She would be monitored, but may continue to gain weight.

* 

It was a pre-dawn schoolday, and Ticker stood at the kitchen island with an array of meats and cheeses spread across the plastic marble. He could see into the living room, where raindrops sat on the dark windowpanes. The central air kicked on overhead with the sound of mechanical breathing. He took a slice of bread and weighed it in his hand. “Goddamned Wonder Bread. White death.” A car drove by outside. Ticker watched a square of light trace across the wall, stop, and move back the way it came. The bread in his hand felt spongy and warm, like it was absorbing the imprints of his fingers. He peeled off a slice of cheese—white American, fat free—and slapped it onto the dented bread.

Mindy walked in. Her socks patted on the pale shag. “The school bus just drove past the house,” she said. Her forehead poked above the far side of the island, and all Ticker could see was her curly bangs. It reminded him of her infancy, months of sink baths and dish towel dryings. Mindy walked around the island and sat on a small plastic stool by the sink. “You gonna drive me after?” She asked.

Ticker caught a sour whiff of mayonnaise from the open jar. “Well what else would I do, make you walk?” he squirted some mustard and pressed the two halves of bread together, facing in opposite directions. For a moment, he debated switching the pieces around, making them uniform. Instead, he closed his eyes and whispered his mantra: “Marines are dying in Afghanistan.” It was the bigger picture he gave his recruits, the grand idea that both inspired excellence and swallowed small mistakes.

Ticker heard Mindy’s voice coming from behind him, a whisper. “Marines are crying in Candyland.” He turned. She was resting her chin on her fists. He handed her the bagged sandwich. “That’s not what I said,” he told her.

Curtis Graham is a current degree candidate at The Mountainview Low Residency MFA in Fiction and Nonfiction.

One True Thing

in

By Ashley Martin

computer-screen-light-black-and-white-woman-photography-752775-pxhere.com (2).jpg

10 p.m., Friday night.

              I’m lying in bed, binge watching Stranger Things and cheating on my diet, that I swear I will be faithful to tomorrow. Probably.

              I have settled into my independent-single-lady life in what feels like the lamest way possible. In the early days of the divorce, when I was high on heartache and repressed emotions, I somehow saw this happening differently. I think I was expecting it to feel a little more Beyonce, and a little less Liz Lemon. But it’s not glamorous or sexy, it’s just… quiet.

              I scroll through Facebook for the forty-seventh time and try to post something witty. A line cast into a crowded attention pool. No bites.

              It’s not that I’m friendless, it’s just one of those nights when everyone is busy with everyone else. I tell myself this is good. It gives me alone time; time for self-care, and self-love, and self-discovery, and selfies.

              Still, I’m considering chalking up the evening as a loss, but then my phone does something highly unusual — it rings. Not a text or Facebook notification – an actual ring. I answer to the voice of my sister, back stateside after completing an international book tour. She wasn’t supposed to be in until next week, but plans changed and she’s here now, and she wants to know if I want to go out to the bar. I jump at the chance. It’s been a year since I’ve seen her, and honestly I am dying for an escape from my own company - you know what they say about too much of a good thing.

              I throw on a push-up bra and some eyeliner, and catch myself in the mirror on the way out the door. If Single-Mom-Living-On-Tacos-and-Tequila has a look, I am nailing it. But no one ever looks at me when I’m out with her, anyway. She, the blonde, chic, jet-setter, with her blue eyes, and her size 2 apple-bottom jeans, and boots with the fur. I’m kidding about that last part - she wears Louboutin’s.

              I’m slipping on my sexiest pair of Old Navy flip-flops when my phone rings again. Expecting it to be her, my breath catches in my chest when a different but dearly familiar number flashes across the screen. I feel like someone emptied a packet of pop-rocks into my stomach; the sensation is still new and delightful.

              It wasn’t until recently that I’d realized how much I had missed, even forgotten, the kind of joy that comes from these small, surprising moments in life. Not like when your husband of 15 years shows up with his pregnant girlfriend one night and tells you he’s leaving you. I mean the kind of unexpected gift that fills you with a sense of peace and euphoria all at once; like the sunset that catches you off guard, or the spontaneous kindness of a stranger. Or when someone makes you feel worthy of love again, long after you had laid that hope to rest.

                I answer eagerly and the voice on the other end spills over the way it always does, like the smoothest Whiskey. Rich and warm. Intoxicating. A vice I have no desire to walk away from.

              You see, I am a big feeler of all the things. I don’t just wear my heart on my sleeve, I cloak myself in it. I crave sincere vulnerability, both in the giving and the taking. I find the greatest sense of fulfillment in breaking myself open wide, and pouring out unabashedly into the rare few who find their way into that inner sanctum.

              So, when I find people that I bond with on a soulular level, who too prefer to swim in the deep end of life, I dive in. Subtle is not part of my vocabulary. I will love too hard, I will connect too deeply, and I cling too tightly. But not with many. Not with most.

              In fact, I need less than one hand to count the number of people this has happened with, and so when I find them, I fight to hold on until they are severed from me by a force beyond my control. Of those I have loved this way, only my sister and this shot of Whiskey remained.

              I fear even that is on borrowed time.

              Each time we hang up the phone, it ends with a resigned admittance that this probably shouldn’t happen again. There is context and technicality to consider. We need to cool it before it gets out of hand, and someone gets burned. I know that that someone will be me.

              And yet.

              I have begun to accept the beauty and power of these moments. This walking blindly into the fire just to feel the heat again. Because they mean I am alive. They mean I have not been excommunicated from love. They show me what my life, now stripped of everything I thought it was, has become: a messy, breathtakingly beautiful experience of being an authentic human who is.

              I know it may not last, but in this moment, it is real, and it’s true.

              It’s just one true thing.

              And right now, at 10 p.m. on a Friday night, I find that’s all I need

Ashley Martin is a current degree candidate at The Mountainview Low Residency MFA in Fiction and Nonfiction.

Learning to Handstand

in

By Ashley Bales

yoga-balance-nature-handstand-roof-pose-1445977-pxhere.com.jpg

To begin you throw your face at the ground and hope your arms catch you. Learning to handstand is a plunge. It’s a pivot downwards, a swing of the legs, a jump, and you’re upside down. At the beginning you’re pitiful and intimately familiar with your own graceless hops. At every step you know where your body is: your legs frog out, your toes reach back, you grip your quads like a lifeline. But attached to what? You look forward, feet in the air, and your hands are impossibly far from your eyes. Your feet land back on the ground, having completed a failed leapfrog, minus the partner. But you overcome the embarrassment because anything worth learning begins with flailing, searching through familiar but inappropriate tools for one that may at least get you started. You have to begin with flailing frog hops, because that’s what you’ve got, and so you do. You jump your feet again into the air, you swear your toes reach further back, but your ass, with a newfound gravity, pulls you back down.

       These early trials will last longer than you like, but one day your hands come down, your legs swing up and they stay there. You’ve found space and your body disappears into it. You lose yourself. Your weight is sucked out of you and you can’t feel your body. Like Peter Pan, you can fly.

       But today we have the benefit of technology to steal all magic from the world, so you record your accomplishment and see that your minutes of flight are unrecordable milliseconds and your legs retain the kinks of an airborne amphibian. The bliss of losing your body is a step, but not an endpoint. It is the adrenaline, endorphin rush of risk, of lost control. But like any tantrum throwing toddler, being out of control may feel powerful, but won’t get you anywhere. This is when you are able to begin. You’ve learned enough to throw yourself into a precarious balance, now you have to learn the trick of control, build the necessary supports, master the tools.

       I’m not there. My supports aren’t entirely built in yet. I need a wall, a steadying hand at the ankle. But when I’m upside down, struggling to concrete myself to the vertical—only the practicality of my bones to fight against—I begin to be able to find my body: pelvis neutral. Abs in. Ribs together. Ribs down. Elbows forward. Shoulders, shoulders, shoulders over fingers. Look at the ground. See the ground. I am solid, physically placed. My body is learning a vocabulary of awareness and balance. Space holds different possibilities and I begin to have the ability to exist in the world inverted.

It’s brutally hard.

Ashley Bales is a current degree candidate at The Mountainview Low Residency MFA in Fiction and Nonfiction.

Sweaty Palms

in

By Morgan Green

zack-marshall-408710-unsplash (2).jpg

On the walk home from the bar, the two of you forced your sweaty palms together like pieces from separate puzzles. You found yourselves looking towards the barely lit street rather than each other, making small talk about things you pretended not to know from the past four years. He’s from Maine but loves the Steelers because his Grandpa lived in Pittsburgh and took him to games before he passed. You tell a well-practiced anecdote about how you and your brother used to fight over whether to watch Pocahontas or Power Rangers on television until, finally, your Great-Aunt just bought another set. He breaks the hold to wipe the sweat off his hand but doesn’t reach for yours after that.

       Do you promise to sleep over? you ask, because you long to have the familiarity of something other than doubt to hold onto tonight.

       Yea, sure. Whatever.

       After that, there’s a bit of a lull in the conversation, so you try to remember if you’d even made your bed before you left. The ground is still damp from when it rained that morning, but you’d changed out of your boots and into black sandals for the bar. You avoided wearing lipstick in case you had someone to kiss, so you made up for it with your maroon top that makes your boobs look great. The taste of tobacco from the Marlboro you guys shared lingers bitterly on your tongue, so you apply some chapstick in hopes that the smell of the mint will distract you. It doesn’t. He gets the wrong idea and grins before kissing you.

       Did you want to smoke another cigarette before we left?

       Why? You want one?

       Nah, just wondering.

       You hooked up once two years ago at a party his fraternity threw and prided yourself because he was the first guy you felt comfortable enough to give a firm no to. He fit your type—dark hair, pale, and some sort of amalgam of scrawny and muscular. You liked them big enough to pick you up but not enough to throw you down. He’d started with the story of his grandfather when you asked why he had a poster of Artie Burns on his wall rather than girls in bikinis. You kept the lights off even though you didn’t plan on making eye contact anyway. Unlike the others, he held you afterwards rather than slamming the door on the way to flush the condom. Back then, the silence felt comforting before you drifted off, but now it left an open space for questions that didn’t need to be answered.  

Morgan Green is a current degree candidate at The Mountainview Low Residency MFA in Fiction and Nonfiction.

AUTHOR SPOTLIGHT: Kelly Stone Gamble

in
peter-pryharski-663241-unsplash.jpg

Since graduating from the Mountainview MFA program in 2012, Kelly Stone Gamble has gone on to publish two novels as well as award-winning short fiction. Recently, she agreed to an interview where we discussed writing, publishing and her success as an author.  

So, Kelly, your latest novel, Call Me Daddy, is the second in a series featuring your protagonist, Cass Adams. Can you give us a little info on what the story is about? Also, how did the idea come to you?
In Call Me Daddy, Cass finds out she’s pregnant and isn’t quite sure how to deal with it, while Clay—the stable one in the relationship—finds himself struggling with “daddy” issues. I actually got the idea sitting in church one day while watching a new father proudly introducing his baby girl. And you could just see how terrified he was.

You write that the town of Deacon, Kansas, the setting for the Cass Adams series, is loosely based on your real-life hometown of Baxter Springs, Kansas. Is the character of Cass also loosely based on you? 
Ha! Not at all. I think there are bits of me in all of my characters, but I’m not about to tell anyone which bits that might be.

I am curious about your path to publication. What was the process like? And what lessons have you learned?
That’s a big question! I actually do an hour-long presentation on the publishing process I went through titled “Writing is the Easy Part.” Condensing that, I would say everyone has a different path. I had an agent, then I didn’t have an agent. I had a larger press interested in my book, but they wanted me to rewrite it from one POV (that wouldn’t have been my book). I finally found Red Adept Publishing, and I couldn’t be happier with them. There are many paths to publishing. Everyone needs to find what’s right for them and go for it!

Fill us in on your writing process. Do you have a set time that you like to write? Duration?
Not really. I write when I feel I have something to say. I’ll think of a good line, or a good scene for one of my projects, and I write it. Sometimes, it’s nothing more than that one inspiration, other times, I’ll start and continue writing for hours. I don’t work well when I say, “between 8 and 9, I’m going to write.” Because when 8 rolls around, I usually have nothing to say.

How long did it take you to write that first book?
17 days. I knew the story I wanted to write. It took me over a year to edit it, though. I actually got the idea for They Call Me Crazy sitting in the bar at the Mountain View Grand, watching an infomercial on koi ponds. I said to the bartender, Troy, “they look like graves,” and his response was, “it’s your story,” and from that moment, it was. Incidentally, Troy and I became good friends and he was a valuable resource, or you might say a muse, for me while writing the first two books. He’s in the acknowledgements of all three books in the Cass Adams series.

Do you find working off an outline helpful? 
No. I need to know where I’m starting and where I’m going, and then I write whatever comes to mind. I can edit it later, but getting the story down, and several great scenes is enough to keep me moving. It’s kind of like taking a long walk, half the fun is not knowing what you are going to see on the way.

Do you ever get writers block? If so, what did you do to combat it? 
I’m always writing something. It may not be on one project, in fact, I hit walls all the time. But when I do, I just put that aside and move on to something else. I have four novels in progress right now, and who knows which one I’ll finish first. Sometimes I’ll write a short story, or a poem, or an essay just to give my mind a rest from a larger project, and when I’m ready, I go back to one of the novels. So how do I combat it? I keep writing. 

What was the best piece of writing advice you ever received? 
Author Scott Phillips has given me several bits of advice, many I won’t repeat, but probably the one that sticks with me is “Write what you want. If the writing is good, it will find readers.” I think there are too many writers trying to focus on a particular genre, or trying to write “literary fiction,” when the reality is good writing finds readers. The tagline for the SNHU MFA program used to be “Go write your book”—not what someone else wants you to write or what you think will sell, but your book. It’s great advice.

The first book in the series, They Call Me Crazy, climbed up the USA Today bestseller list. That has got to be exciting. Have you given any thought to your books becoming movies or a TV series, as Hollywood seems to be constantly on the lookout for best-selling properties? If so, do you have a dream cast in mind? Any thoughts on who you would like to play Cass? 
I am talking with someone currently about movie rights but can’t say much more about it than that at this time. I can think of several who would be a great Cass—Winona Ryder would probably be my favorite. But definitely Larry the Cable Guy for Daze Harper!

Do you have more books planned for Cass Adams? 
The third and final book in the trilogy, Call Me Cass, comes out in 2019. It’s currently in the editing line at my publishing house, Red Adept Publishing. I have a Cass Adams short story, “A Crazy Christmas,” coming out in the anthology Tangled Lights and Silent Nights this Christmas. Additionally, I am publishing another short story, “Daze before the Storm,” which will be out prior to the release of Call Me Cass.

Kelly-Stone-Gamble.jpg

What do you miss most about your time at Mountainview? 
What I miss are hugs from Merle and Rick and just listening to Craig talk. I miss Katie doing the Rock Lobster on dance night. I miss being part of a group of adults donning pirate hats and fake tattoos and rowboating to Smuttynose Island. I made friends in those two years that I’ll keep for a lifetime, and since then, have become friends with many students that graduated before and after me. I never could write much during residencies, I was there for experiences that would inspire me to write later. Being around others that had the same goal, to write a book, was a wonderful experience. A few years ago, one of the alums organized a retreat and it was wonderful to be a part of that community again. I’d love to see that happen at least every few years—maybe in the desert next time?

W. Leander is a current degree candidate at The Mountainview Low Residency MFA in Fiction and Nonfiction.

BOOKS

in

Still A Work In Progress by Jo Knowles

Review by Daniel Charles Ross 

28814842.jpg

One of the hit film releases of late summer so far has been "Eighth Grade," a look back at what tumult kids experience in middle school on the foggy horizon of adulthood. This motivated me to look back at our own Jo Knowles' most-recent novel "Still A Work In Progress" which, natch, occurs in middle school.

     I was privileged to read an Advance Reader Copy of this book in July 2016, and I'm acquainted with Jo Knowles from the Mountainview MFA program. Frankly, none of this disclosure holds any special meaning at all, because "Still A Work In Progress" was an extraordinary glimpse into the minds, the lives, and the very existence of middle schoolers whether I liked it or not.

     Jo Knowles knows kids. She knows their likes, their loves, their terrors, and even their simple irritations. She knows how parents are sometimes left dumbfounded by family events that overtake them, and that all families matter but all families are not, in fact, created equal.

     In her book, main character Noah tries to navigate 8th grade in much the same way a space alien would navigate Times Square, sometimes lost, sometimes befuddled. Middle school is confusing in all respects except when he's in art class, where he excels. Girls are weird but strangely compelling, and schoolmates are sometimes nuttier'n a junkyard dog. Well meaning, of course, but made crazy by–what else?–girls.

     Without spoiling anything, it's safe to say Noah's older sister, Emma, is hobbled by a recurrent problem that embroils the entire family. It's during this time that Noah realizes how important his sister is to him, and how unimportant are the other distractions in his world.

     What is perhaps most engaging about this story is the compassion Jo exhibits through her characters. The strengths are paradoxical: Noah is strong, his father is weak (as a dad myownself, I was frankly dismayed by Noah's dad's behavior. Don't @ me), and mom is somewhere in the middle. Noah is a success, generally, but his sister is a failure at controlling her debilitating, self-imposed problem. Some of Noah's classmates are mature in relationships; some of his teachers in the small school are friends; and there is a hairless cat mascot roaming around as if it owns the place, because, evidently, it does.

     Middle-school gold.

     There is laugh-out-loud humor and watery-eyed pathos. There are kids we all went to middle school with and some we wish we had. The story is less a novel than a time machine, and one size fits all.

     I have high confidence that middle schoolers will read this evergreen story with recognition (and a little dismay)–as adults will, too. If "Still A Work In Progress" fairly represents the state of middle school today, it hasn't changed much since I was in 8th grade. That makes for a compelling, page-turning story of extraordinary and universal meaning for everyone. 
 

Five stars: One for anyone facing the blank page. One for characters we recognize and embrace as ourselves. One for a descriptive and sensitive deep dive into rarely seen family dynamics and the effect they have on our children. One for the hairless cat as the quirky  kind of character you just don't see every day. And one for a Jo Knowles canon that has six other works just as good.

Strongly, unequivocally recommended.

Daniel Charles Ross—DCR—was a Mountainview MFA student in 2015. The thriller that was to be his thesis, Force No One, comes out in the fall.

No Longer Authorized

in

By James Seals 

pexels-photo-568025.jpeg

Tell me how you feel about me, Jane said. She and Will were in bed. He was lying supine, legs apart, arms splayed. Her right arm and leg rested across his body, her head nestled against his shoulder.

       Tell me how you feel, Jane again whispered. She sounded like she was falling asleep.

       Will stared at the whirling ceiling fan and wished for the Good Old Days. But he couldn’t say that phrase aloud. Nor was it permitted to say When Times Were Easier or Back Then. When the Expressive Language Association, the ELA, was instituted by the government four years ago, the ELA’s priority was to end Language Inaccuracies, or, more correctly, to enforce Language Accuracy, which had been determined to lead to Emotion Intelligence. Those phrases and many others had been labeled General Terms, then they were banned.

       Will thought about his feelings for Jane. He wanted back the liberties from the days when they first met…

       You’re So Wonderful, Will had said to Jane.

       Jane smiled. You Make So Me Happy, she replied.

       Now Will smiled.

       Or they each used similar words or phrases that satiated each other’s feelings. Will, though, wanted to say that he Loved Jane, but that word had been forbade.

“When emotions calmed, the ELA, with haste, enacted Word and Term Changes to books and songs and such for fear of new uprisings.”

During the first year of the ELA’s establishment, Free Speech Advocates protested against Language Accuracy. The ELA felt flabbergasted by these objections. They had believed that the Expression Ignorant Society needed much help. So the ELA created sentence starters: How Do You Feel About . . . What Did You Think of . . . I feel that . . .  I thought that.

       They plastered these phrases onto billboards and acted them out in commercials. After a few years Free Speech Advocates lost members as they were exiled for Word or Term Over Usage, chanting one too many times: Let Us Speak and using wordsmiths – Milton, Donne, and Shakespeare (all banned) – for posters and flags.

       When emotions calmed, the ELA, with haste, enacted Word and Term Changes to books and songs and such for fear of new uprisings. Microphones were installed throughout the country. A green light shone, displaying a warning, after someone spoke a word or phrase that had been Listed for Possible Removal (Beautiful, Like, How You Doing, Outside The Box) and an ear-piercing buzz sounded, leading to exile, when someone misspoke, using a banned word or phrase.

       The ELA had banned Love with immediacy. The ELA’s labelings happened during the time of Careless Speech. Will and Jane during that time had attended verbose parties and effusive dinners. People had chattered nonstop and without regard. Will remembered entering music-filled rooms, crowded with stylish dress and primped hair and bright lights.

       How Are You Doing? Will often said as he shuffled by friends, acquaintances, strangers.

       Cool, someone replied.

       Then Will said to a group, It Is What It Is.

       Everything Happens For A Reason, A friend replied, laughing.

       At The End Of The Day, Will later said to an acquaintance.

       Believe You Me, some stranger offered in return at the end of the night.

       Phrases all now outlawed.

       Also, during the time of Careless Speech, words similar to Get and Literally and nonwords such as Irregardless and Conversate were spouted without thought. So the ELA met, ending those Generalities and Nonwords. They too purged society of words used wrong: Terrific and Ultimately, and gross sounding words: Squirt, Chunk, and Discharge. They freed society of confusing words: effect and affect; and their, they’re, there. All exclusions were meant to help create a Clarified Society.

       Will really wanted to say the word Love because he does have strong emotions for Jane. The ELA had explained, Citizens without restraint used Love to describe feelings for someone, for movies, for songs, for activities and even for bananas. Then the ELA had asked, How could someone Love all these things? Will remained quiet, knowing that if he used a banished word or phrase the government would exile him.

       Will continued to watch the fan rotate. He distracted his mind or avoided answering Jane’s question by trying to follow the revolution of one blade. He felt it impossible to track, as he felt it impossible to consider accurate words. Will though was no different than many persons within this new time period.

       Within four years of the institution of Language Accuracy, the ELA identified a change from a Careless Society to a Downfall of Social Interaction. The ELA felt angry, hurt, frustrated. They watched and listened as fewer people met for parties or dinners. When people did gather minutes ticked in silence, or those individuals who refused to learn new words or to concentrate on emotions or who feared the green light and piercing buzz – in fact there were fewer citizens in this new world of exactitude – sat muted, listening to those with a precise vocabulary and identified sentiments speak unabated.

       Soon people stopped asking about feelings. Then friendships ended: no one had anything to say. Then couples separated because one of them was unable to explain his or her feelings. Then married folk divorced as one or both of them told the truth.

       I am bored with your company, a husband said.

       You gained too much weight, a wife replied.

       Jane again said, Tell me how you feel about me. Will believed she had fallen asleep. He had hoped she had fallen asleep. He laid as still as possible. He had taken shallower breaths. Will thought of words and phrases to say: adorable, fabulous, Girl Of My Dreams, Everything I Have Always Wanted. He laid struggling to identify his feelings toward her, just as he had struggled to identify his feelings toward events and bananas.

       Then he said, There are no words to explain how I feel.

       Jane shot upright. Will though closed his eyes then sighed at the sound of the piercing buzz. 

On Podcasts, Glitches and Endings

in

By Shawna-Lee I. Perrin

hand-music-girl-woman-hair-technology-722639-pxhere.com (2).jpg

I’ve taken to listening to podcasts while I clean one thing or another or drive solo somewhere. When I find one I love, my kitchen sparkles and I run lots of useful errands. My favorites are fiction. Whether they hook me or not, each one teaches me something about telling a story, building a world, developing characters and their voices. When I get through a series, they teach me a lot about endings; what’s effective, and, just as educational, what isn’t. Respectively, I’m thinking of two podcasts in particular: Wolf 359 and The Black Tapes. Some spoilers ahead, but I urge you to listen to them (whether you read the rest of this piece or not) and decide for yourself.

       I don’t know anyone in real life who listens to the same podcasts I do, so Reddit has become my proverbial water cooler for such things. Last year, I discovered The Black Tapes while it was on a brief hiatus and shortly before it was due to end. Many on Reddit had listened since the show started a couple years earlier, so their wait between episodes and seasons was considerable, especially compared to my latecomer’s instant gratification up to that point. It was so good – scary, haunting, and smart. The longtime listeners had a lot of time and energy invested, which likely had an effect on their reactions to the short third and final season in general, and the final episode specifically. It didn’t really resolve – well, anything, but that was how the writers chose to end it. When the final episode finally came out, I paused my steel-wooling of dried-on beans from a pot, looked at my little speaker, and said, “Huh. Well. OK.”

       When I checked in at Reddit a day or two later, I quickly realized that fans were, to put it mildly, not pleased. People swore they would never give money to this group of storytellers or any of their other podcasts again. They said they would try to pretend that there hadn’t ever been a third season, and if anyone ever asked them about it, they would say just listen to seasons one and two, and just stop there. They said the finale’s writing was lazy, slap-dashed and half-assed. Amateurish and insulting and negated everything that they had previously loved about it. And goddamn it, we trusted them, and they do this.

       A typical episode was anywhere between 33 and 47 minutes; the final episode was only 27 minutes, 18 seconds. And that included three rather long advertisements plopped in the middle in two different spots. In retrospect, they did leave us hanging. There was a near-constant threat of world annihilation in the world of The Black Tapes, but they didn’t ever actually tell us the outcome. I’d bet that a certain sock company’s revenue decreased after that one.

"I tend to trust the storyteller. Whether or not I like the ending of something is irrelevant; once a thing is out there, how it ends is how it ends."

Conversely, Wolf 359’s finale clocks in at just over two hours (and they never ran ads – just did the Patreon thing). Not everything wrapped up as nice and comfortably as we listeners would have preferred, yet people almost universally adored the ending. The writers clearly took their time. They resolved important threads while unraveling another, and they did tell us what happened regarding the threat of world annihilation. We have no idea where these people will end up, but their story began, middled, and ended in a specific context; that context is really all they needed to resolve. I may have cried, but just a little.

       All of this got me thinking about what readers and/or listeners feel are owed to them in an ending. In these days of instant feedback and the possibility for interaction with people writing or voice-acting on something like this, we listeners can sometimes feel like we’re part of it. The reality is, we are not.

       I know what it’s like to see or hear or experience something arty and instantly feel a pull, a connection. Be it a book, music, a stand-up comedian’s set, or an exhibition at an art gallery, it’s like, “This is a something that I never even knew I wanted or needed, but now I do, and it’s in me, and I’m in it.” It’s powerful.

       I tend to trust the storyteller. Whether or not I like the ending of something is irrelevant; once a thing is out there, how it ends is how it ends. I see people calling bullshit on different endings (Twin Peaks, Lost, even the original Dallas – which, well, ok, actually, yeah.), and they always have reasons for their opinions, usually very well thought-out ones. But I always find myself thinking, “But how do you know that? How do you know better than this thing’s creator(s)?” And I really do want to know how they know that. Because I’m at a loss.

       There’s a significant character in Wolf 359 that’s an AI (Artificial Intelligence) autopilot for the space ship (trust me, they make it make sense). Her name is Hera, and when her computer voice speaks, it glitches sometimes; it sounds sort of like a stutter. And here’s where you should really skip the rest of this paragraph if you don’t want a spoiler from episode 41, “Memoria.” In this especially poignant episode, we find out that Hera’s programmer – the one who created her to not only know vast amounts of information, but also to kind of think for herself – hardwired the following two phrases to play in a loop in Hera’s brain/code: “I can’t do this. I’m not good enough.” Hera’s creator did this as a way to “clip her wings” if she started thinking for herself too much. Turns out, it caused the vocal glitch. It also caused Hera to not pull things off that she was actually perfectly capable of.

       What an insight into human nature! What a thing to identify completely with as we try to write, as we try to get better, as we try to get other people to believe in us and help us get our work out into the world. To get people to trust us, the storytellers.

       In my own writing, I know that what I need to do is trust my training, my reading, my knowledge of my characters, my connection with creativity and inspiration as much as – actually, more than – I trust other story tellers. But it’s so hard.

       At 47, I’ve completed writing and [for now] revising my first novel. I’m proud of it, and I’m trying to get it out into the world. Yet there’s this annoying glitch in my brain... Even if I wrote a scene that touches someone, or maybe even a couple or a few, if the ending isn’t what they would have done, will they feel let down? Will it negate everything that came before? The parts they liked or even maybe loved? I hate letting people down. But I gave it everything I had, I followed the characters into sometimes uncomfortable-to-me places, and I did my best to be true to them. And that’s all I can do.

       Podcasts are not just an escape, just as stories aren’t just an escape: they have the power to make us recognize things in ourselves, in humanity, and even the universe. They have the power to disappoint as much as enlighten and satisfy. What a wonderful and terrifying pursuit this is! And, like Hera, all we can do is recognize that glitch that makes us undermine ourselves, move the hell past it, and keep writing. Keep getting better. And if a few people are disappointed, so be it; let them try it.  

A Moment to Breathe

in

By Jessica Nicole Knop

amaury-salas-324504-unsplash (2).jpg

I excuse myself to the bathroom before anyone else can hug me.

           It’s not that I mind the hugs, I just hate all the useless condolences that come with them. Thanks, but I don’t need you to tell me you’re sorry for my loss, or that he was a good man. I’m aware of both. I know everyone is just trying to comfort me, but here’s a newsflash: I don’t feel comforted. I feel angry and frustrated, and I swear to God if one more fucking person tells me that my husband loved me, I will scream. I’m aware that he loved me, you idiot. You’re not being helpful.

           I look around our bathroom, with its fresh coat of mint green paint, and I laugh. You fought me for three months about this goddamn color, but in the end, we compromised. I got the mint green bathroom, you got a beer tap in the new basement.

           I rest back against the vanity, taking in the scope of the renovations: new paint, new shower, new vanity. New renovations for a new life together.

           A tear rolls down my face, its gravity dragging me to the tile floor. Another tear. Then another. Through blurry eyes, I stare at where the floor meets the wall, and I realize something for the very first time:

           You were a shitty painter.

Jessica Nicole Knop is a current degree candidate at The Mountainview Low Residency MFA in Fiction and Nonfiction.

That Which is Never Spoken

in

By Michael Helsher

philip-brown-542189-unsplash (2).jpg

I’ve taken walks in the forest for most of my life, but I have never once seen an owl when I’ve heard hooting in the woods. Over the years, I came to think of them as the invisible guardians of nature, wise beyond words, exceptionally good, especially at keeping the vermin population in check.

     Once in a while, I’d get spooked by an owl’s hoot echoing through a forest. My senses would go on full alert, absorbing the natural surroundings, until the unnatural sense of myself was gone. Then, if I was lucky enough to hear another hoot, it would make me giggle, just a little, because it reminded me of my favorite line in Walden: “Let them do the idiotic and maniacal hooting for men.”

     Ten years ago, I usually carried with me a beat-up copy of Thoreau’s Walden wherever I went. I suppose it was a replacement for the Catholic Youth Bible I once burnt, buried, and planted a seed over up on top of my favorite hill in the forest. Walden was a stand-in for what the Bible might have meant to me back then, that is if there had been someone with the wisdom to cause my young mind to want giggle about some of the wise passages in it.

     But the Bible, sadly, was shown to me to be about nothing other than the serious business of instilled existential guilt, coupled with a list of rules I had to follow to avoid having my soul roasted for eternity. In my 20s, 30s, and half of my 40s, I was pissed about that. I railed against the Catholic church and felt myself to be a victim of the poison of religion. I even went so far as to pretend I was an atheist, even though my heart said otherwise.

     I’m not sure why my resentment faded, but I know now, down deep—somewhere close to where the invisible hooting owl cuts into my giggle reflex—that “goodness is the only investment that never fails.” I know the spirit of what Thoreau was trying to say with those clunky words.

     Goodness isn’t nice, and rarely is it spoken. It’s being spooked by an owl hoot. It’s all the clumsy first times. The last times. The long-gone good times and even some of the bad times. It’s the monster outside my bedroom door when was a kid. It’s the pain I felt when I held my dog while she took her last breath.

"The memory still burns bright in me. It reminds me of a question Thoreau asked himself in his journal. What is religion? he wrote, to which he answered, That which is never spoken."

We were discussing Henry David Thoreau in an Early American Lit. class, when I saw across the room a young lady who was bouncing in her chair, her arm stretched up like she was wanting to touch the ceiling. Two people got picked before her, but she didn’t flinch. She kept bouncing with her hand held high. When she finally got her chance to speak, she grabbed some papers off her desk and began to stutter. “I… I mean. I mean it’s just, it’s like…” She dropped her papers back down on the desk, inhaled deeply, let out a long heavy sigh and said, “I love Thoreau.”

     Laugher erupted all around the room.

     The memory still burns bright in me. It reminds me of a question Thoreau asked himself in his journal. What is religion? he wrote, to which he answered, That which is never spoken. So with that in mind, the young lady in my early American Literature class had a religious experience, because she couldn’t speak, and made us all laugh, and caused the moment to be branded into the ever-tangled web of experience I call my memory. Save for the three words she uttered in frustration, nothing else about that moment was spoken.. 

     The memory is one of those investments that “never fails.” And the moment was a religious experience for me as well. Religious in the spirit of the Latin word Religio, which Joseph Campbell translated as “to reconnect, linking back.” Linking back, connection, devotion, resonance, these are a few of the many words that can be used to describe the one, the big one, in English. The one that everyone wants. “The word” that links us all the way back to the beginning. Ancient Sanskrit has 96 words for it, none of which I know how to speak.

     But truth can be spoken to some degree. And at 56 years old, I’m still learning how to speak it. The best way to learn how to speak the truth, I’ve found, is to stop lying. That was and still is, brutal—because everything I thought I knew about myself turned out to be a lie.

      Hearing an owl hoot in the woods is a good sign. One that always makes me giggle. Just a little. They are wise beyond words, exceptionally good, especially at keeping the vermin population in check.

Michael Helsher is a current degree candidate at The Mountainview Low Residency MFA in Fiction and Nonfiction.

POETRY

in

Human Origami

By Kirah Lynn Brouillette

people-2.jpg

Two minutes in the morning—
before consciousness shapes
your dream-softened face—
I bend my knees, 
tip my chin up,
(we are cheek to cheek)
and fold myself
around you.

I want to surround you.

I want the first pass
of nose and lips
against your hot, sleep-cleansed skin.
I want to tug your bed-tousled hair
and lick a snail's wet path
from collarbone to ear;
to that dark nestling place
where earlobe meets your strong, curved jaw.
I want to trace finger-loops
over your breathing belly,
until instinctively you swing your hips
squaring them to mine;
bearing them to mine.
I want to loop my arms around you
and press my hands
against the taut plane
of your chest,
lifting your knees
up and in,
tucking my face
into the crook of your neck (the sweetest place)
wrapping
you in me

Human origami.

Bedtime Stories

in

By John Will

alexandra-gorn-471463-unsplash (2).jpg

One of the greatest challenges I’ve found as a writer is simply keeping up with all the demands a family can place on the imagination.

              Take now for example: It’s bedtime for my kids, and I just finished a chapter of our make-believe story about Beatles and Bottle the T-Rexes, who are both trying to escape a volcanic eruption. Telling my boys this tale has made me examine the process of how I tell stories. As I sit at the keyboard and think, I can hear the boys upstairs casting spells at each other.

              Tim: “Abra-ca-zee, abra-ca-za, I turn you into a mega zoo-rah.”

              Isaac: “And I turn you into a zebra.”

              I’m supposed to be writing about what it’s like to be a writing dad. Thankfully, the boys just gave me an idea, so you’ll have to thank them that this piece has a focus.

              At my final residency for my masters’ last January, a colleague came to me and said that they found my writing to be quite disturbing. I accepted this information with the few graces I have, then the conversation lagged. My colleague was about to depart but turned back to me and said, “Where do you come up with this stuff?”

              By this stuff, I think she was referring to the workshop piece I just had critiqued by my peer review group. As a quick aside, that story was published in Assignment online.

              Anyway, the story is one wherein nothing bad actually occurs, but with every fiber of your being you know the protagonist is twisted and has done something unspeakable. Without ruining the plot, the story is about a guy who owns a party company with bouncy houses for rent. The only other detail you need to know is that half of the story takes place at a birthday party.

              My colleague found my work to be disquieting, and her question was really meant to ask, “How can you think about stuff like this?” My answer at the time was something like, “I just have lots of bad dreams.” But that answer wasn’t really the truth. I didn’t know the truth until just a few days ago. So let me use the previous story to explain how I come up with content.

"Then, last week, I was writing a chapter for my new WIP (work-in-progress). The chapter came about because I was envisioning a canoe trip with my sons, and how we would survive if disaster struck."

              First, if you don’t yet know from reading my Lines of Literature via Twitter (or the repostings I do on Facebook), I tend toward horror. We can quibble over genre if you’d like, but underneath it all, I write horror.

              I was a few weeks away from a deadline at school and had no idea what I was going to write as a critique piece. None. Instead of sitting at my computer worrying about it, however, I was playing with my kids. We just bought a small bouncy for my son for his third birthday. We had it inflated, and the boys were jumping happily inside. My mind, as it so often does, went into preparation mode–always be ready for the worst to happen. And with a bouncy house that could be bad indeed. But as I watched them jump, I realized that they would be fine and never know the danger implicit in any fun activity.

              Boys safe, I let my mind wander the halls of its prison. It knocked on a door labelled, “Bad Things." It turned the handle and went inside.

              The story, dark as it is, emerged from that door. My mind fled back down the corridors to its cell and slammed the door. But at least I had a story to write.

              An earlier story came about because I was sitting in church, remembering what services had been like for me as child, before the advent of children’s church. I was thankful my boys did not have to endure the same thing but instead could enjoy the company of their peers while learning their Bible lesson.

              In the story that emerged from that journey to “Bad Things," a man blows up his life hoping to find a better life. While that may not sound like horror, watching a man’s descent into insanity is terrifying.

              Then, last week, I was writing a chapter for my new WIP (work-in-progress). The chapter came about because I was envisioning a canoe trip with my sons, and how we would survive if disaster struck. This story emerges in small doses from ever-more-frequent visits to “Bad Ideas," and it is as dark as anything I’ve ever written

              It occurred to me when I finished my writing for that day that all of the inspiration for my stories, despite being found in “Bad Ideas," have their genesis in one inescapable fact: I love my children dearly and am utterly terrified of anything truly bad happening to them (boo-boo’s and owies don’t count, and neither does a “B” on a report card). My subconscious processes this terror and stores it in “Bad Ideas," where, if I am brave enough, I can bring the ideas into the light of day and face them more comfortably there. And by taking my worst fears for my children and turning them into stories, I am able to come to grips with my fears, and show them how small they really are once they leave my mind.

              So, that’s the dirty little secret: I write horror because I love my kids. Please, dear friends, don’t tell anyone. An author has to keep up appearances, after all.

John Will is a graduate of The Mountainview Low-Residency MFA in Fiction and Nonfiction. You can follow him at https: The Writing Dad, a blog dedicated to the adventure of being a dad and an author at the same time.