Writing What Hurts – Part the Third – Influences

One of the most popular subjects among authors and those who study authors is that of influences.  It is a natural trait of those who teach writing, and those who study writing, to want to know cause and effect – to see if there is a combination of outside events and internal decisions behind the success, or lack of success, of a given writer’s work.  When I’m asked about my influences, it can send me into a tirade, or drop me back into reflective silence.  It all depends on context, and where my mind is at the moment the subject is breached.

It’s easy to get caught up in analysis.  Nobody works in a void.  Someone influenced every creative voice in history, and the two –pronged question is how much, and does it really matter?  If you ask the question directly you may get a pat answer filled with all the right names.  You may get a group of avante garde trailblazers, or a group of the most popular, financially successful authors working.  You might get movies and relatives and heroes and mentors, but what you will never get is the whole truth, and nothing but the truth.

You can interpret the question more than one way.  Who influenced me?  Well, popular authors influence me all the time; some of them because I love and devour their work, like Stephen King and John Grisham.  Others because their phenomenal popularity has struck a chord with the world, and I want to be a chord-striker too – even if I can’t get interested in their writing.  Dan Brown is a good example for me.  I know that millions of people enjoy his fiction, but for me – if it’s an influence – it’s on the choice of subject matter; I don’t care for his writing style at all.

I think the question goes much deeper than what other writers have influenced you, though.  There are things that form you as a person, and when writing is at its best – as you might gather from the title of this work – I think it is very personal.  The writing and the writer are not far removed from one another, and so, whatever influenced the formation of the writer is what influenced the writing.  Religion – philosophy – experience – relationships – all of that, and so much more.  What music do you listen to?  Why?  When did you listen to that music, and what was happening in your life.  Do you like art? What artists – what types of art – why?  Who introduced you to them, and why do they stick with you.

There are too many influences in a writer’s life to categorize them all.  I think you can break them down into categories though – or periods.  I grew up in small-town Illinois.  I was a nerdy book reader, not great at sports but participated anyway, picked on by several different groups and types of other students and friends with some great kids.  From that period I brought Vonnegut, Bradbury, Lovecraft, and Tolkein with me.  I  left behind The Hardy Boys, Tom Swift, Abraham Lincoln and Kenneth Roberts, whose historical autobiographies kept me glued to the page for days at a time and taught me the truth behind history – that it’s rewritten again and again and really just a form of fiction.  The book that set me straight told the full story of Benedict Arnold, who was far from the traitor we are taught in school.  I also left behind a ton of comic books, and somehow never re-acquired the love of reading them I had as a boy.

What came next were my US Navy years.  I brought from those Stephen King, Salvador Dali, the music of Steeleye Span and a thousand rock groups, the ability to play guitar and the first few novels of my career.  I left behind mountains of fantasy trilogies, elves, goblins, and other such critters, even as I moved to and through Dean Koontz and on to Clive Barker.  I also left behind my first publishing venture – a magazine called The Tome – the editing of which was eye-opening and deeply influential on my career, as well as my writing.

I’m cutting each of these periods far short.  I visited countries and continents in the US Navy, lived in Spain, joined a Bike Club (Tiburon MC) – visited Masada and Jerusalem, Rome and Pisa and Florence, Greece and Crete.  I loved and lost and married and divorced.  In other words, I lived – a lot.  All of that is in my writing if you look for it, though it may not be easily discernible to anyone who didn’t share all of that experience (a person, in other words, who does not exist).

You can gain absolutely nothing from huge chunks of your life and be influenced forever by just a few moments.  What you take from a book might be a short quote you can’t shake, a style of getting a particular bit of plot or information across, a conversational tic.  Stephen King’s characters often say, “I had an idea that,” or “I had the idea that,” and that sticks with me.  I haven’t used it, but I recognize it in his work and smile when I see it.

Since we’re still in the introductory part of this book, I’m going to close the door on this influence thing for a while with the note that throughout the pages of this book, the things that have influenced me will become apparent.  I’ll tell you stories.  I’ll reference other writers and talk about thing I like or do not like in their work.  I’ll say repeatedly that all opinions are subjective, and that these are just mine…something I have learned to say through the influence of Mr. Richard Rowand, editor of the late and much missed STARSHORE MAGAZINE – who published my first major genre piece, “A Candle Lit in Sunlight,” which later became the novel “This is My Blood.”  He used to tell us – right before hacking our work to bits – that we should keep in mind that all reviews are subjective.

Before I continue, I’m going to sit back and listen to some Hank Williams Senior and follow that with Charlie Johnson’s Birdland – music picked up while being influenced by Poppy Z. Brite’s novel “Drawing Blood,” though ol’ Hank was with me since my childhood (and you can read about that in my novel Deep Blue).  Onward.

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