Categories
Writing

Bourdain on writing with no time to think

Like a lot of you, I’m guessing, I binged on Anthony Bourdain over the weekend after hearing of his suicide on Friday. I Netflixed a few episodes of his show “Parts Unknown” and read a bunch of tributes. Two of the tributes stood out to me – one from my friend Kathi Purvis on the Bourdain she met and corresponded with, and Spencer Hall on why it meant something for Bourdain to visit, and love, the Waffle House.

I also went back and read the New Yorker piece that catapulted him out of the kitchen and into the world of books and TV. It was better than I remembered. I tried to read one of his books a few years ago – “A Cook’s Tour,” I think – but there was a dismissive edge to it that turned me off. From all accounts, including his own, Bourdain became kinder and more earnest as he got older. His blade could still cut, but he didn’t wave it around the way he did as a younger man.

In the middle of all that weekend reading, I came across an interview he did on NPR a couple years ago. Toward the end, he talks about writing “Kitchen Confidential,” the book that came out of that New Yorker piece. As he talked about it, he said something about writing that rang true:

One of the hardest things about writing is just letting yourself go – not worrying about if the work will sell, or if readers are going to love it, or even if it’s any good. It actually helps sometimes to have a day job, or a baby in the next room, or something else to prod you into putting words on the page. (I own this T-shirt as a reminder.)

I actually do have a day job now, where writing is part of the gig but not all of it, and so I’m having to make time to write other stuff. That’s why I got up at 6 this morning to write this, and gave myself an hour to wrap it up and get it out into the world. Write like you have to be somewhere else soon. Write like no one else is ever going to read it. That’s solid advice. Anthony Bourdain had so much to teach us.

— TT

 

 

Categories
Uncategorized Writing

My class, condensed

On Thursday we wrapped up my first magazine-writing class at Wake Forest University. I had such a great group — 19 students from all over the country who walked into class every week ready to learn. I learned a lot from them, too. I learned that students call Wake “Work Forest.” I learned about a hallucinogen I’d never heard of before. I even learned about the inner workings of the Buffalo Sabres’ front office. (Thanks for that last one, Jordan.)

In our last class together, I tried to distill all that we talked about over 14 weeks into the essentials — the things I hope they remember most.

Some of these are tips I’ve borrowed over the years, some are my own thoughts, some are a blend. (For my students: I forgot a couple in class and added them in just now. Sorry.)

One of the great things about teaching a class is that you have to figure out what you’ve learned over the years. If I had to put it all on a couple of pages, it would look something like this.

Pay attention. Simply watching the world around you with curiosity — wondering why things are, and how they got that way — puts you far ahead of most other people.

Do what you say you’re going to do, and be where you say you’re going to be. Make deadlines.

Most stories center on a character you care about, trying to overcome an obstacle, in a quest for something they want or need — their personal pot of gold.

The best stories operate on two levels: what the story’s about (the specific, concrete narrative) and what it’s REALLY about (the deeper, universal meaning).

Ideas come at odd times. Always have something handy to record them — your phone, a notebook by the bed, whatever.

Get off the couch and out into the world. You’ll be a better writer, and more fun to talk to at parties.

Interviews should be conversations, not interrogations.

One of the best interview tools is silence. It makes people uncomfortable. They often start talking to fill the space.

If you hang out with people long enough, eventually they have to start being themselves.

Suspense and mystery are a writer’s friends. If you have cliffhangers, use them. Make the reader wait for the payoff.

Report and write with your heart wide open. Revise with a ruthless eye.

The biggest moments often call for the simplest words.

Endings are more important than beginnings.

Take care of yourself. This job can take an emotional toll.

Be fair, and be tough if you have to. But whenever in doubt, be kind.

 

— TT

 

Categories
Writing

The Bat and The Bear

Rock Hill, South Carolina, somewhere around 1990. I’m a reporter in the York County bureau of the Charlotte Observer, working alongside a sportswriter named Joe Posnanski. I’m 25 or 26, he’s 22 or 23. I’m covering fatal wrecks and school board meetings, he’s writing up high-school football games and a weekly volleyball notebook. We get to be friends, and we find out we have the same impossible dream. We want to be newspaper columnists.

Some nights, after deadline, we throw a baseball in the parking lot of his apartment complex and talk about making it to that sacred place, down the left rail of the front page of the section — him in Sports, me in Local. Our mug shots at the top. We’re full of ideas about how we would do the job if we ever got there. I’ve been sneaking little scenes into my straight news stories, seeing how they look on the page. He’s been practicing nearly every day, picking something out of the sports world and writing columns that nobody sees.

We scan the wires and out-of-town papers, and when one of us finds something great, we clip it out or print it — this was before the Internet, children — and share it with the other. Before long we both have thick file folders, our homemade textbooks, full of lessons from Dave Barry and Leonard Pitts and Jim Murray and the other columnists we loved.

We spend long nights just sitting around and talking — our romantic lives were not exactly thriving at that point — and one of the things we talk about is this: What was the greatest newspaper column of all time?

After much debate, we decide on two. We call them The Bat and The Bear.

The Bat was written by a young sports columnist out of Detroit named Mitch Albom. You might know Mitch Albom as the author of “Tuesdays With Morrie,” followed by several best-selling Hallmark-ready novels that have sold untold million copies. Mitch has made himself mockable — I’ve mocked him some myself — but in his prime, as a columnist and feature writer, you couldn’t beat him.

The Bat was a piece about a school superintendent, a former member of a Little League World Series champion, who had been shot to death by a disgruntled teacher. Throughout the story, Mitch talked to surviving members of that Little League team, one after another. He asked to see their trophies. He noticed something. The figure at the top of the trophy is a batter waiting for a pitch. But every time one of the players got out his trophy, the bat was missing.

It had been a long time, the trophies were fragile, things fall apart. Mitch saw something bigger:

The snow falls, summer is a distant memory, and even golden boys of Little League have the bats taken out of their hands.

The Bear was a column by Jimmy Breslin.

Breslin had many more famous columns. The one he wrote on the gravedigger at John F. Kennedy’s funeral is still taught in journalism schools. The one he wrote about the cops at the scene when John Lennon was shot still pops up on the anniversary of Lennon’s death. But the one Joe and I loved was about an 11-year-old boy named Juan Perez.

Juan and two friends broke into the Prospect Park Zoo one night and slipped into the polar bear cage. When the bears saw them, the friends ran, but Juan Perez did not. And so he became a child in the middle of Brooklyn who was eaten alive by polar bears.

You can imagine the TV crews and the front-page headlines. But Breslin saw something bigger:

I guess it was a momentous story because of the manner in which the boy died. But at the same time, perhaps somebody should stop just for a paragraph and mention the fact that there are many children being eaten alive by this bear of a city, New York in the 1980s. To say many is to make an understatement most bland, for there are hundreds of thousands of young in New York who each day have the hope, and thus the life, chewed out of them in a city that feels the bestowing of fame and fortunes on landlords is a glorious act, and that all energies and as much money and attention as possible be given to some corporation that threatens to move 40 people to Maryland.

The column is 30 years old and isn’t on the Internet — at least I couldn’t find it — and so I dug a version out of a database. It’s from a Toronto newspaper, reprinting the original from the New York Daily News, and somehow Toronto cut the best line. Breslin hammers the developers and the politicians who chew up and discard kids every day in New York — he even gets in a shot at Donald Trump — and then, after a couple paragraphs of this, he drops in one perfect sentence:

They shot the bear.

I write all this because Jimmy Breslin died on Sunday at 88, and he was the best columnist there ever was, and I stole from him freely — his language and his spirit — until I found my own voice. He got out there and talked to people and found the story and wrote it up. It sounds easy, like falling into a pool. But there’s falling and there’s diving.

Joe and I kept working and got lucky and found editors who believed in us. We both got the jobs we dreamed about, and then others beyond our dreams. Our romantic lives got better — we’re both married now — but we still spend long lunches and phone calls and text threads continuing that conversation we started more than 25 years ago.

I’ve read many a story in all those years. I’ve got a lot of favorites. But none will ever matter as much to me as The Bat and The Bear. They gave two young guys something to reach for.

 

— TT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Categories
Writing

Elephant in the Room: The end of the beginning

 

IMG_3573

 

Some of you know that I’ve been working on a book for a while — it’s called “The Elephant in the Room,” and it’s a memoir about my life as a fat man in a growing America. Just after midnight last night, I wrote the final sentence and then typed -30-, which is old newspaper lingo for the end of a story. I emailed the draft to my agent. Most of my columns for the Charlotte Observer were about 600 words. One of the features I write for ESPN might run 4,000. This was 61,000 words. I hope a few of them are good.

This is just the end of the beginning. A few trusted readers are going to take a look and give me some thoughts. I’ll read those and make some changes. Then my book editor at Simon & Schuster will get ahold of it, and he’ll have more ideas. What we end up with will be different than what I turned in today. That’s how it works and how it ought to work. I don’t know when there will be a book for you to buy. But you can bet I’ll let you know through this blog, Twitter, Facebook, emails, town crier, etc.

There’s still a long way to go. But for now: I wrote a book! I think I’ll go sleep for a couple of days.

 

Categories
Music Uncategorized Video Writing

Wake up, make tea, write songs, repeat

Last night I used an iTunes card I got for my birthday (thanks, Katie and Elizabeth!) to watch the first half of the documentary on the Eagles. It’s really good. I like them a lot, but even if you don’t, it’s fascinating to see how music brought them together and fame broke them apart. My favorite moment was Glenn Frey talking about his early days in Los Angeles, when he and roommate JD Souther lived above Jackson Browne. None of them had made it yet — Browne’s place wasn’t even an official apartment, just a cubbyhole in a basement in Echo Park. But he already knew the secret to success — not just at writing, but pretty much anything else.

Here’s Frey:

We slept late in those days, except around 9 in the morning, I’d hear Jackson Browne’s teapot going off with the whistle in the distance, and then I’d hear him playing piano. I didn’t really know how to write songs. I knew I WANTED to write songs, but I didn’t know exactly … you just wait around for inspiration, you know, what was the deal?

I learned through Jackson’s ceiling and my floor exactly how to write songs. Because Jackson would get up and he’d play the first verse and first chorus, and he’d play it 20 times until he had it just the way he wanted, and then there’d be silence, and then I’d hear the teapot go off again. It’d be quiet for 10 or 20 minutes. Then I’d hear him start to play again, and there was a second verse, so then he’d work on the second verse — he’d play it 20 times — and then he’d go back to the top of the song and play the first verse, the first chorus and the second verse another 20 times, until he was really comfortable with it, and, you know, change a word here or there.

And I’m up there going, So that’s how you do it. Elbow grease. You know, time. Thought. Persistence.

After I wrote all that down, I remembered Bill Simmons wrote an opus on the documentary a few months back. It’s worth checking out, too.

Simmons is right, by the way: That’s a beautifully done scene — a little gem of storytelling. (It doesn’t hurt when Glenn Frey is your narrator.)

Anyway: Elbow grease. Time. Thought. Persistence. If you want to write, that’ll get you a long way there.

Categories
Media Writing

Gardens, guns and flytraps

Garden & Gun is not a magazine for people with split personalities. It’s named after a legendary bar in Charleston, S.C., and published down there (in Charleston, not in the bar). It’s got beautiful photography, an interesting take on the South, and in this issue, a story by yours truly.

Go take a look and see what you think. Of course it’s even better if you buy a copy (or several dozen). And, as always, patronize their advertisers.