Showing posts with label B Y Rogers. Show all posts
Showing posts with label B Y Rogers. Show all posts

Monday, April 21, 2014

30 Days: "The Gun" by B Y Rogers


The Gun
B Y Rogers

“I remembered the day you were born, mostly because you were my first grandchild. I had been out of state for several weeks, traveling for my job. You were almost two months old before I finally got to hold you. Your Mom had you all wrapped up in a pink blanket Grandma had made. I cried.

“The world was turning sour back in those days. Before you were born, I remember hearing of the occasional shooting, if that is the correct and proper way to define what was happening back then. I don’t remember much, not really, but I do recall that once or twice a year some disgruntled man, it was never a woman, would lash out at their family or co-workers, killing as many as he could. Most times, it was only a half dozen; even one was too many. But like everybody else, I had a life to live and I moved on.

“Columbine High School buried the most in the beginning. I remember that one because it shocked everybody, even me. Then there was a Baptist Church killing in Texas somewhere. There were others. The popular term that was spread around was that someone had gone postal. It was happening more and more.

“Of course, eventually, the big political killing of 2001 climbed to top. I guess you learned about those when you were growing up. While that was the worst, it was really impersonal for most Americans. Oh, we did get all fired up and blamed whomever and bickered between ourselves, but still, unless it happened to you, it was this far away massacre that was soon forgotten unless you went on a plane ride.

“The little ones got to me. Every couple of years you would hear of one. Then, just a year or so before you were born there was a whole litter of them. And it wasn’t just in the schools or at local factory. These crazies would go off the deep end and kill at home and then they would go to the mall or high school, all armed up with weapons they had stolen from their parents or grandparents. Sometimes they would plan the shooting for months, hoarding their ammo like it was food in a famine.

“I do remember one, the same year you were born in fact, where an Amish school was attacked by some asshole. He killed some kids and that one got to me cause you were so tiny, just a few months old and I remember holding you one day and fighting back the tears, wondering what I would do if someone came into your school and killed you and nobody was there to protect you.

“I don’t like guns, never had. My father had several, all rifles. I don’t remember seeing a revolver in the house growing up, just rifles. I did go hunting with my father when I was about fifteen. I got sick. Not from the hunt; hell, I was raised on a small farm and did my share of separating chickens from their heads. That never bothered me. I got sick from breathing the exhaust from my father’s old Willey Jeep. It was much older than I was and had rotting floorboards. I had to sit in the way back, over the exhaust pipe so the men could sit in the seats. I threw up a lot that morning.“I remember firing a 22 rifle in Scouts when I was about thirteen or so. I fired it maybe five times. Somewhere along the line, for who knows what reason, I just never felt an affinity with guns. I wasn’t against them mind you, just never had an interest.

“Then suddenly the shootings got closer to home. When you were about a year old, there was one in a mall, in the city. I think four or five were killed in that one. A couple of months later, a big one happened at a university in Virginia. By now, I was getting inured to it all.

“Then, when you were in kindergarten, another school shooting changed my mind. That was a terrible year, that year. Time after time, almost every month, somebody somewhere, a mall, a theater, a café, someone was shot to death. It was horrific. Then, there was this case in New York. Over two dozen children in a kindergarten class were murdered. They were your age. I snapped then, it was too much.

“I bought a handgun a few months later, a Smith and Wesson .40. I hate guns. I really do not like them. Still don’t like them. While I did not have nightmares of you being killed while dressed up as a ham in a school play or shopping for candy for Halloween, I worried, God how I worried. In my daytime I could see you lying on the floor at school, or on the grass in the park, dead because somebody went postal and I was not there to protect you. I felt helpless.

“So I got the handgun and a concealed weapon permit and practiced, practiced, practiced. I was never that good, but I wasn’t bad either.

“While I was practicing to protect you, I lost you. We all did. By the time you were in high school and I was getting better at shooting paper targets, you ran away. Your parents nearly bankrupt themselves trying to help you, but you would not be helped. By the time you were fifteen, you had seen more time in juvenile detention each year than at home.

“The world became crazy while you were gone. I suspect you knew more of it than I did. I gave up. I turned off the television finally and the radio. I didn’t read the newspapers any more. I canceled the Internet. I just read my books and wrote in my journal. I think the world got really bad the older I got.

“We lost track of you. You left home before you were eighteen and where you have been, I had no idea. Grandma died while you were gone. I don’t know if you knew that or not. I live alone now. I miss her something terrible. Your mother wants me to come live with her and your father, but I’m still able to take care of myself most of the time. I haven’t told them no. I haven’t said yes either. Now, I guess, they won’t have to worry about it.

“I’m old. I feel it every time I move. I am sitting here, on the driveway, in the dark. The concrete feels as cold as I do. My butt can’t take this kind of sitting anymore. A cop gently pulled my hands behind my back and put handcuffs around my wrists a few minutes ago. He apologized, said he hated doing it but times, such as they are, it was policy and I had to sit down. So I sat down on the driveway. I don’t care anymore. I’m not scared.

“You are still just inside the doorway. I can see your feet from here. The lights from the cop cars are dancing over the sheet they put over you. I can see the soles of your shoes. What am I going to say to your mother?

“I hate guns. I never wanted to pull mine on anyone. I never have had to. But when I heard someone at the door after I had gone to bed, trying to get it, I got scared. Whomever you were with must have put their shoulder to it and hit the door pretty hard. I don’t know. By the time the door tore from the hinges, I had the gun that I brought so many years ago to protect you and was aiming at the first person that came in.

"Now, I am sitting here, on the cold driveway, crying, wishing the cops would give me my gun back."

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Thursday, April 4, 2013

30 Days: "The Gun"

The Gun

B Y Rogers


“I remembered the day you were born. I had been out of state for several weeks, traveling for my job. You were almost two months old before I finally got to hold you. You Mom had you all wrapped up in a pink blanket Grandma had made. I cried.
“The world was turning sour back in those days. Before you were born, I remember hearing of the occasional shooting, if that is the correct and proper way to define what was happening back then. I don’t remember much, not really, but I do recall that once or twice a year some disgruntled man, it was never a woman, would lash out at their family or co-workers, killing as many as he could. Most times, it was only a half dozen; even one was too many. But like everybody else, I had a life to live and I moved on.
“Columbine High School buried the most in the beginning. I remember that one because it shocked everybody, even me. Then there was a Baptist Church killing in Texas somewhere. There were others. The popular term that was spread around was that someone had gone postal. It was happening more and more.
“Of course, eventually, the big political killing of 2001 climbed to top. I guess you learned about those when you were growing up. While that was the worst, it was really impersonal for most Americans. Oh, we did get all fired up and blamed whomever and bickered between ourselves, but still, unless it happened to you, it was this far away massacre that was soon forgotten unless you went on a plane ride.
“The little ones got to me. Every couple of years you would hear of one. Then, just a year or so before you were born there was a whole litter of them. And it wasn’t just in the in the schools or at local factory. These crazies would go off the deep end and kill at home and then they would go to the mall or high school, all armed up with weapons they had stolen from their parents or grandparents. Sometimes they would plan the shooting for months, hoarding their ammo like it was food in a famine.
“I do remember one, the same year you were born in fact, where an Amish school was attacked by some asshole. He killed some kids and that one got to me cause you were so tiny, just a few months old and I remember holding you one day and fighting back the tears, wondering what I would do if someone came into your school and killed you and nobody was there to protect you.
“I don’t like guns, never had. Your grandfather had several, all rifles. I don’t remember seeing a revolver in the house growing up, just rifles. I did go hunting with my father when I was about fifteen. I got sick. Not from the hunt; hell, I was raised on a small farm and did my share of separating chickens from their heads. That never bothered me. I got sick from breathing the exhaust from my father’s old Willey Jeep. It was older than I was and had rotting floorboards. I had to sit in the way back, over the exhaust pipe so the men could sit in the seats. I threw up a lot that morning.
“I remember firing a 22 rifle in Scouts when I was about thirteen or so. I fired it maybe five times. Somewhere along the line, for who knows what reason, I just never felt an affinity with guns. I wasn’t against them mind you, just never had an interest.
“Then suddenly the shootings got closer to home. When you were about a year old, there was one in a mall, in the city. I think four or five were killed in that one. A couple of months later, a big one happened at a university in Virginia. By now, I was getting inured to it all.
“Then, when you were in kindergarten, another school shooting changed my mind.  That was a terrible year, that year. Time after time, almost every month, somebody somewhere, a mall, a theater, a café, someone was shot to death. It was horrific. Then, there was this case in New York. Over two dozen children in a kindergarten class were murdered. They were your age. I snapped then, it was too much.
“I bought a handgun a few months later, a Smith and Wesson .40.  I hate guns. I really do not like them. Still don’t like them. While I did not have nightmares of you being killed while dressed up as a ham in a school play or shopping for candy for Halloween, I worried, God how I worried. In my daytime I could see you lying on the floor at school, or on the grass in the park, dead because somebody went postal and your parents were not there to protect you. I felt helpless.
“So I got the handgun and a concealed weapon permit and practiced, practiced, practiced. I was never that good, but I wasn’t bad either.
“While I was practicing to protect you, I lost you. We all did. By the time you were in high school and I was practicing, you ran away. Your parents nearly bankrupt themselves trying to help you, but you would not be helped. By the time you were fifteen, you had seen more time in juvenile detention each year than at home.
“The world became crazy while you were gone. I suspect you knew more of it than I did. I gave up. I turned off the television finally and the radio. I didn’t read the newspapers any more. I canceled the internet. I just read my books and wrote in my journal. I think the world got really bad the older I got.
“We lost track of you. You left home before you were eighteen and where you have been, I had no idea. Grandma died while you were gone. I don’t know if you knew that or not. I live alone now. Your mother wants me to come live with her and your father, but I am still able to take care of myself most of the time. I haven’t told them no. I haven’t said yes either. Now, I guess, they won’t have to worry about it.
“I’m old. I feel it every time I move. I am sitting here, on the driveway, in the dark. The concrete feels as cold as I do. My butt can’t take this kind of sitting anymore. A cop gently pulled my hands behind my back and put handcuffs around my wrists a few minutes ago. He apologized, said he hated doing it but times, such as they are, it was policy and I had to sit down. So I sat down on the driveway. I don’t care anymore. I’m not scared.
“You are still just inside the doorway. I can see your feet from here. The lights from the cop cars are dancing over the sheet they put over you. I can see the soles of your shoes. What am I going to say to your mother?
“I hate guns. I never wanted to pull mine on anyone. I never have had to. But when I heard someone at the door after I had gone to bed, trying to get it, I got scared.  Whomever you were with must have put their shoulder to it and hit the door pretty hard. I don’t know. By the time the door tore from the hinges, I had the gun that I brought so many years ago to protect you and was aiming at the first person that came in.
Now, I am sitting here, on the cold driveway, crying, wishing the cops would give me my gun back.


byrogers.com
theironwriter.com


Monday, April 1, 2013

30 Days: "The Thrashing of Charley Little"

Menda City, Virginia
1930

     Thomas stood in the doorway of his bedroom staring at the empty rocking chair. His father had made it not five years before, when it was suddenly needed.  The dust was floating in the morning sunlight as it shone through the window, summer was coming on and it was already hot. The bed was made and the bedroom, like the entire house, was clean spotless. Beulah was immaculate in her duties inside the house, as thorough as Ruford was outside on their little piece of land. The dust suspended in the air didn't stand a chance once it settled to the floor.
    Ruford and Beulah had raised a passel of kids during their life together. Late in life, when their children were mostly grown and some already had moved away, Thomas was born. Some called him an accident but not around Beulah. She was a strong woman, with solid Christian values and it wouldn't do to talk such nonsense about her boy. He was loved as much as any of his older siblings. Family was family to the Max's and they were close as any.
     They lived almost in the center of Menda City, on a couple of acres that was given to an ancestor a generation or two before. They were defiantly alone in the white community and they felt it. But land was land and they had more property where they were than if they migrated to the river bottoms where all the other coloreds had settled. Besides, it was their land. They owned it. Ruford saw no need to move through the years but that all changed now. If you were to ask Ruford tomorrow, he'd tell you he wished they had up and walked away a long time ago, land or no. But it was too late now. It was oh so very late.
     Thomas eased his weary body into the rocking chair. He was bone tired. It was hard burying a wife. It was the first time he had ever sat where Dorsie had spent the last few years of life, silently spending her time staring out the window, slowly starving herself to death. They were difficult, heartbreaking years.
     Ruford made the rocking chair, after Doc Walters told Ruford that Dorsie needed to get out of bed. Her injuries had healed and she needed to be up and about. Besides, she had a child now. She needed to take care of the boy. But she wouldn't have anything to do with Doyle. No breastfeeding, no cuddling, no nurturing. Nothing. It was as if the boy didn't exist in her world. But then again, no one existed in her world, no one, not since the spring of '25. Beulah had to give the boy to her younger sister, whose daughter had a newborn boy of her own. At least Doyle had someone to nurse him. He spent most of his first year in the river bottoms, away from his mother. While he was gone, Dorsie just sat in the rocking chair, staring out the window at the neighbors, her face blank and emotionless. She never once asked about her son.
     About two years ago, Thomas moved the chair so he could sweep the floor. Beulah had taken her to the outhouse, doing what needed to be done for her daughter-in-law. Thomas had put the chair back but it didn't face the window, as it should. It was pointing at the bed instead. When Beulah brought her back into the room, Dorsie collapsed to the floor and screamed like she had been cut deep. It was the only time since the rape that his wife ever made a sound. It took all three of them some time to figure out what she was upset about. She was too weak to point so she just sat on the floor and screamed and screamed with her hands in her lap. Ruford touched the chair, to move it out of his way because they were trying to get Dorsie onto the bed so she would calm down, she screamed all the louder. When he moved the chair again, he inadvertently twisted it towards the window. Dorsie's screaming stopped as quickly as it had started. The three of them just stood there, looking at each other with Dorsie waiting on the floor between them, not knowing what they had done wrong.
     That was how their days went. Thomas would sit on the edge of the bed in the morning till his mother came in to take Dorsie to the latrine and bring her back. She would stay in the rocking chair all day. Then, when it was after dark and she couldn't see the sun shining out the window, Thomas would gently put her in bed. She didn't speak, not a single word in all those years. She dried up that way, sitting there. She died in the chair not a week before. She was buried now and Thomas was so very tired.
     He never knew who raped and beat his wife so horribly just four months after they were married. Doc Walters had to do a Caesarian when Doyle was born. She was only eighteen years old. She was twenty-three when she was buried.
     Thomas never knew who did it so he put it out of his mind. He had no other choice. He had a wife and a son to tend. He and his father doted on the boy over the years, putting the rape away from their minds, someplace far away where they didn't have to see or hear it or feel it. There were times when they were weeding the vegetables or digging a new pit for the outhouse with little Doyle underfoot that they would look at each other. But neither asked the other what they wanted to ask, what they wanted so desperately to know.
     Doyle seemed brighter than usual to Thomas, as bright and inquisitive as any of the white kids that populated Menda. Ruford began reading to him when he was very young. The child quickly memorized the stories, mouthing the words with his eyes closed when he was being read to, laughing and giggling when Ruford was caught changing the words into nonsense. Beulah was convinced the boy would be a book lover. Beulah never learned to read.
     When Doyle was four, on his birthday, his father and grandfather carefully attached a thick rope to the crossbeam high in the barn, making a swing the child could play on. They tied a knot at the end so he wouldn't slide off and even attached a long piece of twine, so Doyle could climb the ladder to the loft and pull the swing up to him. The boy was no coward. He was jumping off the loft by himself and scaring the hell out of his grandmother that very afternoon. Dorsie never knew about the swing. She never witnessed her son's courage.
     Ruford and Beulah had left some time ago, hitching a ride to the river bottoms with their grandson to attend church. They had sensed their son needed some time alone. Sitting in the chair, Thomas looked out the window across the pasture at Loy Little's place. It seemed that Deputy Brower had come to visit, his '27 Model A was idling next to Mr. Little's barn. After a few minutes, Thomas could see the county officer stuffing something into his back pocket as he walked out of the barn with Mr. Little. The deputy got into his vehicle then jawed with Mr. Little for a few moments more. They were smiling and laughing like they were the best of friends. Then Deputy Brower put his car in gear and backed out of the driveway.
    Mr. Little didn't own any livestock but the barn was well used nonetheless. Thomas knew what was going on. He assumed Deputy Brower approved, otherwise what was going on wouldn't be going on. Heavens, most days you could smell it clear to Granton whether the wind was blowing or not.
     Mr. Little disappeared back inside the barn for only a minute then Thomas could see him pull his truck out. The bed of the truck was stacked high with inventory. Thomas heard the truck's horn blare. A moment or two later, Charley, his neighbor's only son, sauntered out of the house towards his father who sat impatiently in the truck. They talked for a minute or so; both of Mr. Little's hands were outside the truck's window, waving as though they were giving directions to General Lee when he came marching through. Finally Mr. Little drove off and Charley went into the barn, closing the doors behind him.
    That was when it happened.  That was when Thomas saw it all for the first time as if the sun had finally risen on his memory. He rose from the chair and walked over to the window, resting his huge hands on the wall, one on either side of the frame. He stood there, staring out the window for several minutes, reliving every precious second his wife was confined in the chair behind him. He turned and looked at the rocking chair, looking at the prison Dorsie had faded away and died in, trying to finally hear her.
     He remembered all the times Dorsie would tense up and purse her lips, clenching her fists on the armrests of her chair. Her eyes would almost burst out of her head then just as quickly close almost shut as though she was focusing to make all the pain go away. Thomas thought it was because his mute wife needed something he didn't understand so he always went and got his mother. He never could figure it out. He realized that every time this happened, it was always on a clear, sunny day, just like today. And every time, Charley Little was outside.
     He knew. He finally knew.
    It didn't take long, not more than a couple of minutes for Thomas to cross the pasture, his dark black skin beginning to sweat in the heat. He was mad; cold, angry mad. Five years of hell. Five years lost in the silent celibacy of his bedroom. He wasn't thinking of anything else, but he should have been. A black man extracting vengeance on a white man did not go unpunished in a state still mired in antebellum attitudes. But it was too late for that.
     At the other side of the pasture, Thomas slipped between the barbed wire fence that marked the property line and quietly loped to the barn doors, his feet barely touching the ground. He stopped outside the doors and put his ear against the dry, unpainted wood. He couldn't hear anything. He didn't know if Charley was still inside or if he had slipped out the back and slid into the gully to kill some time with a quart of fresh moonshine. As carefully as he could, he opened the door an inch or two, to see if he could see the rapist. He could see one inside wall of the barn, the side closest to his neighbor's house. Three or four animal stalls had been erected, each filled with a hodgepodge of history. Old horse tack, bridles, saddles and whips were strewn over old bales of straw that were slowly turning to dust. Old, gray colored wood planks were tossed on top as if an inebriated dervish had discarded them.
     He stuck his head in far enough to get a view of the rest of the barn. The middle part right behind the doors was open space, but that was where Mr. Little parked his truck. What Thomas didn't expect, what surprised him, was the disorganized shamble of paraphernalia related to the family business piled against the south wall. Gunnysacks of sugar or corn meal were stacked as high as his head. Coiled copper tubing, metal buckets, bricks and firewood were heaped into the far corner. New and used one-gallon glass jars were everywhere. And it stank worse than a flooded outhouse on a hot August afternoon.
     Thomas could sense movement in the back corner of the barn, so he slid inside as quietly as he could. He ducked as he inched his way along the wall of the first stall. He stopped when he reached the end of the wall and peered around it. A row of large barrels filled with fermenting mash ran in front of the stalls, at least a half a dozen. On the other side of the barrels sat a still, the size of which Thomas had never seen in all his days, not even in the river bottoms. Two large men could stand inside the boiler and not touch each other.
     He couldn't see Charley but he could hear some grunting behind the still so he waited. He could hear Charley rustling and moving about, tapping on the cap arm or rapping the worm box for no reason. He pulled his head back when Charley came out from behind the still and he knew it was now or never. He crouched as low as he could, his big back arched tight as a spring, his massive hands primed for Charley's neck the instant he walked past.
     Nothing.
    The next thing he knew, he could hear Charley shuffling around in the stall just on the other side of the wall. He relaxed, thinking that when Charley came out and walked back to the still, he would attack from behind. He could hear Charley making a whole lot of noise, as if he were rearranging heavy furniture. Boards were banging against each other. A loud thump followed by a dust funnel rising in the air when a old saddle was tossed over the wall and into the far stall. Then it all went quiet, too quiet. He didn't know what to do or think. He couldn't tell were Charley was.
     He held his breath; waiting for his moment when suddenly a loud crack divided the air and his back felt like it had caught fire. Another crack and more pain rained down on him. Thomas threw himself forward, twisting and turning to avoid the raking pain as Charley exited the stall, an old leather quirt dangling from his skinny hand. He stumbled backwards into the barrels of mash where he bounced back towards his assailant. Charley was on him faster than Thomas could run, the short whip relentlessly struck Thomas' arms and torso, back and forth, left and right, right and left. The flesh on his arms was stung as his skin took welt after welt. Soon his flesh tore open, his blood staining the quirt. It seemed endless.
     Charley was breathing hard, panting between strikes but he didn't stop. Thomas spun to his left then, backing himself up against the north wall, between the still and the stalls where he could face his tormentor.
    "You're just doing me a favor you dumb nigger. Stupid dumbass spook."
    Thomas was silent, trying to catch his wind while he regained his senses.
     "Now I can tell Pa it ain't me that's been stealing his moonshine, but that poor, stupid nigger of a neighbor." He flayed Thomas again, who just stood there, his feet frozen, trying to deflect the punishment with his bleeding forearms. Charley wasn't much taller than Thomas and he was definitely not as big. But he made one mistake. He believed that all colored men were cowards, weak ones at that, poltroons, the concept bred into them by their white masters a hundred years ago and for their own good.
     "What you here for anyways nigger? Why you come snooping over here, huh?" Another thrash pressed Thomas tighter into the wall. "You thirsty? You need sumthin to drink?" With his prey cornered, Charley raised his arm, moving closer, ready to bring the quirt blistering downward again. "I'm talking to you, nigger. You hear me? When I speaks to you, you suppose to answer."
     Before the short whip came around in its arc from behind Charley's back the next time, Thomas' huge fist flashed out, crashing hard into Charley's upper lip, splitting it clean to the teeth as if it were a buck knife cutting white cloth. Charley reeled backwards, his left hand jumping to his face to stem the blood. Before he had time to fall, Thomas put him to the ground with another shot. From then on, it was all Thomas.
     Charley was on all fours, blood and spit dribbling from his mouth onto the dirt. He rolled onto his back and raised his left hand towards Thomas, as if he were saying that was enough. He tried to stand but all he did was bring his head into Thomas' range. A large brown brogan to the side of the skull sent Charley to the ground. Still on his back, Charley dug his heels in, pushing himself away from between Thomas feet as unnatural tears began to flow. He tried to rise once more; only to be driven down again as Thomas stepped forward. The assault continued, man over beast, Charley sliding away in the dirt as Thomas walked above him, punishing him between steps.
     "Goddamn, boy, you is a strong one." Charley wiped his lips and laughed. "You know..." Charley was still laughing as he crawled, "... you's a dead man. You know that don't ya?"
     Thomas paused, letting Charley raise a hand upward, but not letting him out from between his feet.
    "You better kill me 'cause if you don't, you are as good as dead. Either Pa will shoot you down like a shitty dog or the county is gonna hang you. Either way, you's as good as dead." He snickered some more. "Hell, boy, I ain't even gonna stop you.  Come on, beat the piss out of me, 'cause I'm gonna still watch you swing with your legs all twitching as you choke to death."
     Charley rolled over and quit, gasping for air while his drool mixed with the dirt as he lay on the ground. Thomas used his boot on Charley's shoulder to roll him over, then he reached down and grabbed his shirt, pulling him up to pummel him once more. He hit him, over and over again, crushing his jaw and cheekbone. He could hear bone breaking. He would have continued until Charley was dead but the shirt ripped apart from the tension.
     When Charley fell, he was silent. Thomas was still bent over him, holding part of the shirt in his left hand, his trembling right hand held high above, dripping with Charley's blood. He fought to catch his breath, his own spit falling from between his lips onto Charley's face, mixing with the tears and blood.
     But he could not contain the remaining rage. He walked over to the still, kicking and screaming at it. He found a shovel and beat the boiler again and again, denting it and cracking the seams. When it wouldn't die, he ripped the cap arm from the thump keg and then began destroying the worm box. He got hold it and with a heavy heave overturned it, the cold water flooding towards the still, smothering fire that kept the mash simmering.
     Exhausted, Thomas slipped to his hands and knees and vomited. He stayed there a minute or more, trembling as much as he had on his wedding night. Then he realized that Charley was right. He was a dead man. Deputy Brower would surely hunt him down and shoot him on sight. He was as dead as his wife. He should have just taken his boy and moved to the river bottoms rather than seeking revenge on his white neighbor. He should have just run away and let it be. But now, lying there on the dirt, he knew that unless he truly killed Charley and burned the barn down to hide his crime, his fate was sealed as surely as was Dorsie's.
     He knew what he had to do. He got up and scoured the barn, gathering all the moonshine he could find. There wasn't much but what he could scavenge, he brought over and poured on Charley, until his victim had been thoroughly baptized. Then he took what little was left and soaked the walls between the stalls; splashing everywhere he could, especially on the dry straw and rotting, gray wood. He went to the boiler, bent and battered as it was. He found a dull axe in one of the stalls and began to wail on the copper boiler, splitting it. When half of it had drained across the ground, he went looking for matches, but there were none to be found and the fire under the boiler was out.
     Scared, angry, lost and bewildered, he left the barn and went into the house; an unforgivable sin should Mr. Little suddenly return and discovered him in his house. Matches were next to the stove. Back in the barn not a minute later with his entire body shaking uncontrollably, he stood over his victim, holding a match in his hand, ready to strike.
It was no good. He couldn't do it. He was not a killer. He was a dead man. He cast the match away and left.
    The walk back through his father's pasture took much longer than coming from his house a half hour before. He stopped midway, looking at his father's old barn. He wasn't a killer. He wasn't a murderer. He was a dead man and he might as well get the dying done.
     He went into the barn and gathered the twine from his son's swing into his hand. He climbed the loft and pulled the rope to him. Not conscious now, not really, he stood there, it was as if his destiny had arrived and he was as calm as a heavenly morning.
     He took the rope as high up as he could reach and twirled it as tight as he could around his neck several times. Then he simply stepped over the ledge.

Thursday, March 28, 2013

Self Editing for Fiction Writers, Chapter 11, Sophistication

Simplicity is the Ultimate Sophistication, The AS and -ING of Bad Style

Notes, highlight, thoughts and frustrations from Self Editing for Fiction Writers, Chapter 11, Sophistication

As per my previous chapter reviews of this very helpful book on writing, my thoughts are encased with parenthesis. I hope this helps someone out there, besides me.
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One easy way to make your writing seem more sophisticated is to AVOID two stylistic constructions that are common to hack writers, namely:
"Pulling off her gloves, she turned to face him."
and:
"As she pulled of her gloves, she turned to face him."
Both the as construction and the -ing construction as used above are grammatically correct and express the action clearly and unambiguously...if you use these constructions often, you weaken your writing.

Another reason to avoid the as and -ing construction is they can give rise to physical impossibilities. (There is one solution to this problem on page 194, if you care to purchase the book yourself! In fact, page 195 has an example with, then without, the as and -ing constructs. I must say, the latter does read better.)

Another way to keep from looking like an amateur is to avoid the use of cliches (Amen)...When you fall into characterizations like these (a list of common cliches), the result is a cartoon rather than a character.
There is one caveat: in narration, there may be times when you need to use a familiar, pet phrase-yes, a cliche, to summarize a complicated situation. But before going with a cliche, give some thought to the possibility of 'turning it', altering it slightly to render the phrasing less familiar.

In Chapter 5, we warned you to watch out for -ly adverbs when you are writing dialogue. (Stephen King said the same thing in On Writing, if I recall correctly.) But even when you are not writing dialogue, be on the lookout for -ly adverbs, for the sake of sophistication. (The next few paragraphs offer some great suggestions on resolving this problem.)

This approach may be all right for a first draft, but when you self-edit, you can root out these verb-adverb combinations like the weeds they are. (I like that metaphor.)

When you use two words, a weak verb and an adverb, to do the work of one strong verb, you dilute your writing and rob it of its potential power.

A simple departure from conventional comma usage can also lend a modern, sophisticated touch to your fiction-especially your dialogue...This comma usage, if not overdone, conveys remarkably well the way speech actually falls on the ear.

There are a few stylistic devices that are so "tacky" they should be used very sparingly.(I just gave you one, there are three others in the book, one involves sex. Really. It does.)

What is true of sexual details is also true of profanity...profanity has been so overused in the past years that nowadays it's more a sign of a small vocabulary. (A great, humorous example follows.)

The surest sign that you are achieving literary sophistication is when your writing begins to seem effortless, not that it will be effortless, of course.

The goal of all this careful, conscious work is to produce a novel or short story collection as though there no hard labor were involved in producing it. Fred Astaire worked tirelessly to make dancing look like the easiest, most natural thing in the world. And that is what you are tying for.

Please, stay off the damn walls. I just painted.

B Y Rogers
The Iron Writer

Thursday, March 21, 2013

Self Editing for Fiction Writers, Chapter 10, Once Is Usually Enough

The Redundant, Revenant Recidivist

Notes, highlights, comments and thoughts from Self Editing for Fiction Writers, Chapter 10, Once Is Usually Enough. Use them or lose them.

"Despite its tireless narrative energy, despite its relentless inventiveness, the book is bloated, grown to elephantine proportions... Repetition is the problem; the same stories are told several times, accruing more dealt in with each telling. Also, the principal characters have a way of regurgitating what they've learned, even through the reader was with them when they learned it."
Patrick McGrath, in a New York Times review of The Witching Hour, by Anne Rice.

The problem Mr. McGrath describes is one we see regularly in the writing of both novices and professionals; unintentional repetition.
The repetition of an effect can be just as problematic. Whether it's two sentences that convey the same information, two paragraphs that establish the same personality trait, or two characters who fill the same role in a plot, repetition can rob your story of its power. In fact, repetition is likely to weaken rather then intensify the power of that effect.

When you try to accomplish the same effect twice, the weaker attempt is likely to undermine the power of the stronger one.

One form of repetition that we've seen more often in recent years is the use of brand names to help characterization. The mention of what type of scotch hour hero drinks or what kind of car your heroine drives may help give your readers a handle on their personalities. But when all your characters glance at their Rolexes, then hop into their Maseratis to tear out to the house in the Hamptons, where they change out of their Armanis to pour themselves a Glenliovet-you've gone too far.

Interior monologue is also prone to needless repetition.

Keep an eye out for unconscious repetitions on the smallest scale-especially repetitions in which the repeated word isn't used in the same sense as the original word. ("She heard a sharp crack, the loud spring of her bed springs.")

A fringe benefit of getting rid of unnecessary repetitions is that it frees up the power of intentional repetitions.

Why would you want to repeat an effect? Roshomon Technique!

As you come to see what each element of your story-each sentence, each paragraph-accomplishes, you can learn o accomplish more than one thing at a time.

If each element of your story accomplishes one thing and one thing only, then your story will subtly, almost subliminally, feel artificial. When everything seems to be happening all at once, then it will feel like real life.

Another way in which the writers indulge in the large scale overkill is in the creation of the characters.

Then there is repetition on the largest scale, from book to book...of course, there is room in the world of fiction for the formulaic novel, it's been said that every James Bond novel has the same plot. (Oh, don't get me started. IF any of you EVER think that I am writing the same plot, over and over again, by simply changing the character names and the location, then, please, do not shoot me in the ass. Aim higher and put an end to my drivel.) (I refuse to read formulaic novels.)

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Thanks for following (Get the hint?). I hope this is helpful to someone out there. It has certainly improved my writing. Please comment and share the blog. Who knows, it may make the difference to someone.

Thursday, March 7, 2013

Self Editing for Fiction Writers, Chapter 9, Breaking Up is Easy To Do

"It's like a woman with a dead baby inside her."
Got your attention, didn't I?

Before I write about the next chapter in Self Editing for Fiction Writers, I HAD to share this metaphor. It is a pericope in the book  and when I read it, I was so stunned, I knew I had to include it when I blogged tonight. In fact, the skin on my forearms turned to goose flesh. I put the book down and just sat there for about ten minutes, pondering the depths.

The character who speaks the metaphor is a man who is losing his faith in God. It if from Fredrick Buechner's Treasure Hunt. It reads: "You don't know how it feels to say things you don't believe any more. It's like a woman with a dead baby inside her."

I am terrible at metaphors. I struggle with them and as a result, I probably do not use them often enough nor effectively. If anyone out there know of a good website or book on how to write and use metaphors, please leave me a comment. I could use the help.
In my book, this metaphor is the best I have ever read.
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For those who are just now finding my blog (and thanks to those from the Kindle Community who faithfully follow) I have been 'reviewing' Self Editing for Fiction Writers by Renni Browne and Dave King. It is quite a remarkable book and I have learned much. You can surf my blog to find the previous eight chapters (and some worthless stuff as well).

What follows are the highlights that caught my eye in Chapter 8. I do not want to put too much of the book here, because I really think every aspiring writer should have this book right next to their computer or Royal typewriter. So, if the highlights do to make sense, buy the book. It's that simple. My thoughts are in parenthesis. Enjoy.
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Another editing technique produces the dramatic difference between the two versions (two pericopes precede this highlight): the first is a single, page long paragraph; the second has been broken up into more manageable chunks. The second version has white space.

Whether it's because readers feel lectured to, or because they feel crowded, or simply because some white space on the page is visually inviting, lengthy unbroken chunks of written material are off-putting.
Paragraphing frequently can also add tension to a scene.

A novel that is basically a page-turner beginning to end is more likely to leave its readers feeling weary-and manipulated-than satisfied.

The leisurely and soft-edged tone to the details help lull the reader into a relaxed moment- to a purpose, since we are being set up.

Be on the lookout for places where your characters make little speeches to one another. In formal dialogue, characters often string together four or five complete, well-formed sentences. In real life, few of us get that far without interruptions. (I detest be interrupted when I am speaking! But it is true. Homework assignment: During the day tomorrow, count how many times you are interrupted when you are speaking AND count how many times you interrupt someone).

If the scene or chapter remains steady while the tension of the story varies considerably, you are passing up the chance to reinforce the tension your story depends on. You are failing to use one of the simplest of storytelling tools.

Thursday, February 28, 2013

Self Editing for Fiction Writers, Chapter 8, Easy Beats

As usual, my thoughts and comments on in parentheses. All the other kicks are just there, man.)

Beats are the bits of action interspersed through a scene, such as a character walking to a window or removing his and rubbing his eyes- the literary equivalent of what is known in the theater as 'stage business'.

As with interior monologue, it's very easy to interrupt your dialogue so often that you bring its pace to a halt.

As with the Fran Dorf example at the beginning of the chapter, there is wonderful dialogue in here (another example)-surrounded by so many beats, both internal and external, that its effect is lost. The fact that the beats themselves are interesting and well written doesn't keep the constant interruptions from irritating the reader.

As with physical description, some writers may overuse beats because they lack confidence. After all, if you show every move your character makes, your readers are bound to be able to picture the action you describe...when you describe every bit of action down to the last detail, you give your readers a clear picture of what's going on but you also limit their imagination-and if you supply enough detail, you'll alienate them in the process.

Of course, it is possible to err in the other direction and include too few beats. Page after page of uninterrupted dialogue can become disembodied and disorienting after a while, even if the dialogue is excellent.

What's needed are a few beats to anchor [your dialogue] in reality.
The idea is to strike the right balance between dialogue and beats.
So what's the right balance? (see page 149!)

Knowing where to put your beats is not as important as knowing what beats to insert.

Beats can be pointless, distracting, cliched, or repetitive.
So where do you find good beats? (Oh, the tip offered here has kept me busy all week. Page 152 folks!)

(The last two pages of the chapter consist of an example with and then without beats.) The scene is still moving-the dialogue effectively conveys what's going on and its importance, and it's easy to tell who is speaking. What is lost is a great deal of resonance, the deepening of the emotional content. You need beats for those.

Dig it!

Thursday, February 14, 2013

Self Editing for Fiction Writers, Chapter 7, Interior Monologue

(Same guidelines as previously. My  wayward thoughts and comments are in parenthesis.)

Self Editing for Fiction Writers, Chapter 7, Interior Monologue

One of the greatest gifts of literature is that it allows for the expression of unexpressed thoughts: interior monologue...allowing your readers to see what your character is thinking is a powerful, intimate way to establish that character's personality.

Constant interruptions are just as annoying on the page as they are in life, and this writer (from an example in the book, which you need to purchase anyway) has interrupted her dialogue with interior monologue over and over again.

So how do you know you've gone too far with interior monologue? (See answer on page 118)

It is also possible to have too little interior monologue.
(A one page example of dialogue, between a husband and wife, without any interior dialogue, then:) But her (the character in the example) exhaustion and intimidation need to be present in the scene as well as in the context. She doesn't stop feeling these things while she is on the phone with him. Because she's too intimidated to confront him, the writer can't show her feelings in dialogue. It would be difficult  to work Nia's specific feelings into emotionally weighted descriptions without breaking up the rhythm of the dialogue.

So what's the right amount of interior monologue? (See answer on page 122)

(Throughout the book, there are several cartoons to emphasis a point. In this chapter, there is one that I found especially humorous. In the single panel, we see two women, sitting at a table, in a very sparse room. The caption reads exactly as follows: "So far all her dreams have not come true but she wants high romance and a baby while her husband want to be, and is, a very successful broker, who takes graduate courses at night and wants no baby and at the same time she has more or less recovered from being in love with the well-digger who dug her well, which is good since he is married with three children and is a drug addict and an alcoholic and he claims he's dying, although there are no signs of this and she says once she finds an outlet for her unrequited love she will lose eighty-five pounds.  I enjoyed that sentence." (Get it?)

(Oh, here is a great one:) It's rarely a good idea to have your characters mumble to themselves or speak under their breath.
How to handle your interior monologue depends almost entirely on your narrative distance. (I am still trying to wrap my mind around 'narrative distance'. I will work on it more the second time I go through this book.)

Thinker attributions. Whenever you're writing from a single point of view-as you will be ninety percent of the time-you can simply jettison thinker attributions.

Another technique for setting off interior monologue sharply is to write in the first person (often with italics) when you narrative is in third...Effective as this technique can be in letting readers into your character's head, be careful not to use it too often.

Interior dialogue can easily become a gimmick, and if overused it can make your characters seem as if they have multiple-personality disorder.

Generations of hacks have used italics to punch up otherwise weak dialogue...frequent italics have come to signal weak writing. (In other words, don't use italics.)

How do you set off your interior dialogue when you're writing with narrative intimacy?  (See answer on page 128)

(I failed to mention that this book is the 2nd Edition. I needed to clarify this so you understand the final paragraph.)

We have noticed since the first edition of this book came out that a lot of writers have taken our advice about showing and telling too much to heart. The result has sometimes been sterile writing, consisting mostly of bare-bones descriptions and skeletal dialogue. Yet fiction allow for marvelous richness and depth, and nowhere more so than through interior monologue. You have to be careful not to go overboard, but interior monologue gives you opportunity to invite your readers into your characters minds, sometimes with stunning effect.

B Y Rogers

Thursday, January 31, 2013

Self Editing for Fiction Writers, Chapter Five, Dialogue Mechanics

I am positively giddy about this post. The next chapter in Self Editing for Fiction Writers is precisely what Matt Stover preached to me over three years ago and since then, I have had more than a few conversations about these principles, most with negative results.  But I have held my ground on and will continue to do so. What follows is so important so if you want to learn to write, again, I beg you, get this book.

Again, my comments will be in parenthesis (and there will probably be many of them).

Chapter 5  Dialogue Mechanics

What is the first thing acquisition editors look for when they begin reading fiction submission? (Not going to tell you! You will have to get the book.)

Because it is such hard work, generations of writers have developed mechanical tricks to save them the trouble of writing dialogue that effectively conveys character and emotion...Not surprisingly, these are tricks to avoid if you want to you want your dialogue to read like the work of a professional instead of an amateur or a hack.  (My graphic artist suggested I take a look at writing.com, which I mentioned in my previous post. I looked at two short stories that were submitted for comments on that site. One was so terrible when it came to dialogue that I could not finish reading it. It was too painful. I suggested to both authors to get this book. They need it desperately!)

Imagine you are at a play. It's the middle of the first act. You are really involved in the drama. Suddenly the playwright runs out on the stage and yells, "Do you see what is happening here? Do you see how her coldness is behind his infidelity?" (Great metaphor)

If your dialogue isn't written well, if it needs the explanation to convey the emotion-then the explanation really won't help. It's showing and telling applied to dialogue.

Perhaps it's a lack of confidence on the writer's part, perhaps it's simple laziness, or perhaps it's a misguided attempt to break up the monotony of using the unadorned said all the time, but all too many fiction writers tend to pepper their dialogue with -ly's. Which is a good reason to cut virtually one you write. Ly adverbs almost always catch the writer in the act of attributions that belong in the dialogue itself.
(Rennie Browne and Dave King make a reference to "Tom Swifties" , which made me laugh. What got me seriously interested in reading when I was in the 6th grade was the Tom Swift series, by Victor Appleton II. Ah, the memories!)

Don't make speaker attributions as a way to slip in explanations to your dialogue ("he growled," "she snapped")

To use verbs like these last three for speaker attributions is to brand yourself as an amateur.

Verbs other than said tend to draw attention away from the dialogue.
Said, on the other hand, isn't even read the way other verbs are read. It is, and should be, an almost purely mechanical device, more like a punctuation mark than a verb.  (BINGO! Think about this. When you read dialogue, do you really pay attention to the word said? We don't, at least I do not, unless the author adds an attribution, which then makes me pause. Should not the speaker's words in the dialogue tell me if the character is angry, sad, happy, clueless? If the writer builds the character correctly and develops the scene correctly, I will already know if the speaker is angry or not.)

(Here is something I did not know.) Decide how you are going to refer to a character and stick with it for at least the length of the scene. Don't use "Hubert said," on one page, "Mr. Winchester said," on the next and "the old man said," on the third. If you do, your reader will have to stop reading long enough to figure out that the old man is Hubert Winchester. (Purchase the book and learn what "beats" are, if you do not already know.)

If it's clear from the dialogue who is speaking-you can dispense with speaker attributions altogether. (Again, build your characters correctly!)

(Learn the difference between dashes and ellipses.)


The truth is, only editors and reviewers really notice these things. (You may not think these principles are important but they will make the difference not only with getting your tome published but how many sales you make.)

"Mr (Robert) Ludlum has other peculiarities. For example, he hates the "he said" locution and avoids it as much as possible. Characters in The Bourne Ultimatum seldom say anything. Instead, they cry, interject, interrupt, muse, state, counter, conclude, mumble, whisper, (Mr. Ludlum is great on whispers), intone, roar, exclaim, fume, explode, mutter. There is one especially unforgettable tautology: "'I repeat,' repeated Alex."
The book may sell in the billions, but it is still junk.
-Newgate Callendar,
The New York Times Book Review

B Y Rogers is the author of The Sin of Certainty plus a growing collection of short stories

Thursday, January 24, 2013

Self Editing for Fiction Writers, Chapter Four

Proportion

As in my previous posts about Self-Editing for Fiction Writers, my thoughts are in parenthesis. The rest are direct quotes from the book. I hope what I post is beneficial.

(If you are wondering what 'proportion' has to do with writing, think of it this way. How much do I give to my readers in any scene? Do I give them too much or too little? Then ask yourself this: too much or too little of what? Information related to the plot? Did I take 5 pages to write something that should have been written in 3?  At least that is how I am defining proportion. Your mileage may vary.)

Proportion problems...arise from the same lack of confidence that leads beginning writers to describe emotions they have already shown.
When you fill in all the details and leave nothing to your reader's imagination, you're patronizing them. (AMEN!)

Sometimes proportion problems arise when a writer is writing about his or her pet interests or hobbies. (This is why I mention taking too long to say what needs to be said. Taking 5 pages to show what you want to convey, instead of 3 pages, will bore your readers. There is a great example of this on page 68 of the book, oh, wait... sorry, you haven't purchased your own copy yet have you?  Tsk, tsk.)

You didn't read the whole paragraph did you?  (this is from the book. No I didn't. I was bored by word 11. Again, get the book!)
Proportion problems can arise inadvertently, sometimes through cutting.

So how do you avoid proportion problems? In most cases it's quite simple: PAY ATTENTION.

A warning: paying attention to your story does not mean ruthlessly cutting everything that doesn't immediately advance your plot.
Is it really needed? Does it add? Should it be shorter/longer?
Bear in mind that most readers may not find such topics as interesting as you do.

Once you have trained yourself to see how changes in proportion affect your story, you can begin to use proportion to shape your readers' response to your plot

The safest approach is to make sure the material you're writing about helps advance either your plot or your narrator's character.

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B Y Rogers
byrogers.com
by@byrogers.com
@by_rogers

Thursday, January 17, 2013

Self Editing for Fiction Writers, Chapter Three

Here is the next chapter of "Self-Editing for Fiction Writers". IF you haven't by now (what is wrong with you?), and you are or want to be a writer, you really should get this book. I AM SERIOUS ABOUT THIS!

Chapter 3  Point of View

The first person point of view has a number of advantages, the main one being that it gives your readers a great deal of intimacy with your viewpoint character.

What you gain in intimacy with the first person, you lose in perspective.

On the other end of the spectrum from the first person is the omniscient point of view. Instead of being written from inside the head of one of your characters, a scene in the omniscient point of view is not written from inside anyone's head.

Note that with the omniscient voice what you gain in perspective you lose in intimacy.

If the first person invites intimacy and the omniscient narrator allows for perspective, the third person strikes balance between the two. (There is quite a bit of additional information on this topic in the book.)
Another factor that controls your narrative distance is how much you allow your viewpoint character's emotion to color your description. (I am still trying to get my Pooh sized brain wrapped around 'narrative distance'.)

So how much narrative distance is right for you? Broadly speaking the more intimate the point of view, the better.

The emotions have to go someplace and the language of your descriptions is a good place for them.

You want to engage your readers, not drive them to distraction.
Readers need time to settle into a given emotional state, so when you move quickly from one passion-charged head to another, you're likely leave them behind. They'll know what our various characters are feeling, but the won't have time to feel like any of the characters.

When you make the point of view clear at the beginning of a scene, you get your readers involved right away and let them get used to inhabiting your viewpoint character's head.

Linespaces prepare readers for a shift (in time, place or point of view), so the change in point of view won't catch them by surprise. (I recently attempted to read a book where this skill was totally missing. It was a struggle to follow the story. The story seemed disconnected and halted almost on every page. I gave up and did not finish it.)

Point of view is a powerful tool. Master it.
(Amen)

Thursday, January 10, 2013

Self Editing for Fiction Writers, Chapter Two

(Come on, get your own copy, will ya?)

Characterization and Exposition

Before I start, a few comments. Of all the lessons I have been given along my writing path, the one about exposition was the most profitable. It makes so much sense to me. The trouble is, it is now getting me into trouble. My thinking is evolving to the point that I detest conversational exposition. My mind keeps seeing Jack Webb sternly stating "Just the facts, Ma'am". (IF and when my wife reads this, I will be sleeping downstairs for awhile.)

Anyway, I cannot preach exposition enough. So pay attention. You will know when you have it right when you can quit your day job. I still do not have it right. Otherwise I would not be up at midnight writing.
My thoughts are in parenthesis.

(The chapter starts out with a few, very dull paragraphs about Eloise.) After reading the these paragraphs, you know something about-possibly something very important-about Eloise. But do you care? (I didn't.)

In fact, the show and tell principles underlies many of the self-editing points we will talk about from now on. But there's a second problem here: the writer introduces Eliose to h is readers all at once and in depth-stopping the story cold for an overview of her character. (Next time you are reading a book and you come up short, as if you have been jerked out of the story and back to your reality, stop and ask yourself why. Then take a look at what you have just read. Very telling.)

It is often a good idea to introduce a new character with enough physical description for your readers to picture him or her.As with describing your settings, all you need are a few concrete idiomatic details to jump start your readers imagination. (I tried to do this in my novel, only giving what is needed but nothing more. I want the character to become the readers character, not mine. Too much detail about physical appearance and the character is mine, not the readers.)
If your characters actually act in the way your summaries say they will, then the summaries are not needed. If they do not, then your summaries are misleading.

When you (completely) sum up your characters, you risk defining them to the point that they're boxed in by the characterization with no room to grow.

Allow your readers to get to know your characters gradually, each read will interpret them in his or her own way, thus getting a deeper sens of who your characters are.

Delving into your characters past can be a good way for you to understand the character in the present. But though it may have been helpful for you to write a character's history, it may not be necessary for your readers to read it. (I like this. In fact, I did not write out a history for any of my characters in The Sin of Certainty. After reading this point, I like it even more. My characters are still alive to me, growing and in a few cases, dying.)

Since you bring your present story to a halt whenever you start a flashback, it doesn't take too many flashbacks to make your story jerky or hard to follow. (This is taught in Writing to Sell also. Good advice. I used one  and only flashback in my novel. I could not find a way around it and the information was pivotal. In fact, without it, the reader will never learn the answer to the mystery. Let the reader learn about the character from the present, not the past.)

If you want to learn who someone is, watch what they say and do. If you want your readers to get a feel who your character really are, show them through dialogue and action. (This is true in life, in a movie, and in a book. And remember, action speaks louder than words.)

The information your readers need in order to follow and appreciate your plot...should be brought out as unobtrusively as possible.
Give your readers only as much background information or history, or characterization as they need at any give time.  (I really like this.)

When your characters start talking  solely for the sake of informing your readers, the exposition gets in the way of believable characterization. So be on the lookout for places where your dialogue is actually exposition in disguise.

Readers can best learn about your locations and background not through lengthy exposition but by seeing them in real life.

B Y Rogers   http://www.byrogers.com/