let not dreams be your master

If you can trust yourself when all men doubt you,
But make allowance for their doubting too:
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise;

If you can dream---and not make dreams your master;
If you can think---and not make thoughts your aim...

                                                                               --- Rudyard Kipling, "If" 
       

Would you like to hear a funny story (and by "funny" I mean "relevant to my career, and yours too if you're a writer")? 

My hobby is trapshooting. It's where five people get together in a line and stand a set distance away from a small mound. Beneath this mound is a mechanical launcher which, at the first shooters' word, slings small discs made of frangible clay into the air in different directions and trajectories. The first shooter puts on his shooting glasses and earplugs, raises his gun to his shoulder, and shouts "Pull!" The scorekeeper, typically seated on a chair behind the shooters, presses a button and activates the launcher, which throws a random bird out from beneath the mound and into the line of fire. The first shooter does his best to blow the little target out of the air with a shotgun blast. If he or she hits it, then the fragile disc disintegrates into a million tiny pieces and falls to earth in forlorn fragments. If the shot was a miss, the disc wings off into the distance and shatters on impact with the ground. Then the second shooter raises his gun to his shoulder, shouts "Pull!" and the whole process kicks off again, and continues until each of the five shooters has shot at 25 "birds." 

It looks kind of like this:

I've done this dozens of times, and I've never gotten a perfect 25. 

Why?

Because I always psych myself out. I get to 24, and then I start to sweat and grit my teeth and clench my gut and think of that lovely "25" patch I could sew onto my shooting vest, and I invariably jerk the trigger too hard and miss the final bird. 

Sloppy. Eager. Shaky. 

Too much speed and too much noise.

Today I realized that I have been approaching my writing in the same way.

Most of you guys know by now that I'm a science fiction guy, but I do fantasize about mainstream fiction occasionally. One of my favorite books is The Sand Pebbles, by Richard McKenna. It paints a dynamic and emotionally moving portrait of the life of a simple machinist's mate Jake Holman, who serves aboard the U.S. Navy gunboat San Pablo. The vessel and her dedicated crew of "Sand Pebbles" patrol the Yangtze River in China, mostly a dog-and-pony show to intimidate bandits and warlords who are keen to rough up American businessmen and missionaries in the area. The book also brings to life the grand scale, social mores, political upheavals, and intimidating personalities at work in China in the 1920's. The action takes place right on the eve of Chiang Kai-shek's Northern Expedition, and the Kuomintang and the unification of China are central themes. More than a simple novel of an ignorant country boy at sea amid the oppressive hostility of the Orient, however, The Sand Pebbles is also an insightful commentary on the human condition: the raw power (and irrationality) of love, the madness and chaos of war, the eternal struggle of old traditions and new ideas. 

It's precisely the kind of historical fiction I wanted to write. So, in 2012, between penning the first and second novels of my epic sci-fi series, I did NaNoWriMo. What I wrote was a 52,000-word piece called Mugunghwa (the rose-of-Sharon, Korea's national flower). Apart from a few lackadaisical edits here and there, I haven't touched the manuscript since. 

Then, just recently, I picked up Paul Theroux's Kowloon Tong. Not historical fiction by any means—it was published in 1997, the same year that the U.K. handed over Hong Kong to mainland China. This handover, while merely a peripheral event in Theroux's novel, nonetheless forms the catalyst for much of the action. I'll give you the Wikipedia summary: "Kowloon Tong is a novel by Paul Theroux about Neville "Bunt" Mullard, an English mummy's boy born and raised in Hong Kong. The story is set in the days leading up to the handover to China of Hong Kong from the British. Bunt is made an offer for his textile factory by the shady Mr. Hung from the People's Republic of China, and has no choice but to accept, when it is made clear that Mr. Hung knows all about the part of Bunt's life that he has kept secret from his mother Betty, namely his frequenting of the 'blue hotels' of Kowloon Tong and furtive sex with one of his workers, Mei-Ping."

Sounds quite tawdry and sinister, don't it? And it is, certainly. But more than that, it does precisely what The Sand Pebbles (published in 1962) managed to do: paint a vivid picture of a time, a place, and a savage cultural clash. I'm halfway through it and I can't put it down. The backdrop of Hong Kong is enticingly exotic (and lewd) and the characters simply sizzle off the page like bacon fat jumping from an overheated skillet: the weak-chinned Bunt, his overbearing mother Betty, the vicious Mr. Hung, the shy and vulnerable Mei-Ping, the slimy lawyer Monty, and the lascivious Filipino prostitute Baby ("Let we make fuppies!"). Here is yet another type of mainstream novel I should like to write: one set in a foreign country (an Asiatic one), concerning a culture utterly foreign to the reader, and yet which manages to faithfully portray the nitty-gritty details of that culture with beautiful, vivid detail—with a pressing social issue as its canvas and inborn human nature its paints. 

So I came up with a timely idea which I could write about: the plight of North Korean girls who decide to escape to China and the promise of work and income, only to be coerced into slavery by unscrupulous Chinese and sold to rural farmers in the northeastern provinces, and there sexually abused and worked like cattle.

Whatever. The idea isn't what's important.

What's important is the undue stress which reading Kowloon Tong caused me. 

I am a weak, insecure, spiteful, and needy man. I put too much pressure on myself. I read something good and I immediately want to emulate it. No, not just emulate it—surpass it. That in itself isn't a bad thing, but I go to extremes. I tell myself that I'm a failure if I don't manage to write something at least as good. I question my own worth and talent. I rail at myself that I'm not as keen an observer of culture and linguistic subtleties as I should be. Moreover, I'm usually in an all-fired hurry to complete the work. Paul Theroux wrote a damn good book, and I need to produce something similar now, NOW, d'you hear me, or my life as a writer is fucking over. This, or something very like it, is the loud, insistent, humbling message which my id splatters all over my craven ego. 

I put way too much pressure on myself. 

I've written three books and am halfway through another. (One of those books—the complete manuscript—is currently under review by the editors at Ace Science Fiction, an imprint of the Penguin Group.) I've penned dozens of short stories. But I remain unpublished. And that, to my mind, is simply not good enough. 

I put way too much pressure on myself. 

Now that one of my books is under review by a major publishing house, I feel an insistent need to edit the sequel into a refined state of readiness, while simultaneously finishing and editing the third installment and even the fourth. And these aren't short books, either: both the first and the second novel manuscripts turned out to be about 110,000-115,000 words each.

I put WAY too much pressure on myself. 

But I've been in a slump lately. I haven't written anything new since my appendectomy last May. I haven't touched my second novel manuscript; the writer's block just won't go away. 

And then I realized that it wasn't writer's block. It was that pressure. It was the background noise. It was me thinking about leaving Korea, moving to Las Vegas, missing Miss H, getting published by Penguin (or worse, not getting published by Penguin), winning the Hugo & Nebula Awards (or worse, not winning the Hugo & Nebula Awards), feeling inferior to Paul Theroux, wondering if I was even capable of writing something as good as Kowloon Tong or The Sand Pebbles, wondering, wishing, waiting, worrying. 

Enough. Enough already. 

I was taking notes on my new idea (about enslaved North Korean women) and I realized something. There was a feeling in my chest like a great big ship's boiler, overheated and ready to burst. My veins felt like cracked valves and my head was constantly pounding. To my shock, I discovered that this wasn't a new sensation: that knot of roiling, boiling pressure had been there for weeks. No matter how many bike rides I took along the Han River or the Yangjae Stream, no matter how many walks through Ttukseom Resort or Seoul Forest, no matter how many of my students wrote perfect descriptive paragraphs because I'm an awesome teacher, I was still stressed out. I was going to bed stressed and waking up stressed, stressing out with every word of every great author's that I read. And I was about to commence writing a fifth book with that lump in my chest. I was about to write it the same way I've been writing every short story and editing every novel manuscript: too quickly, too eagerly, and with too much background noise in my head. 

No more. 

The dam broke this morning. Something snapped inside me. My stress washed away, my head cleared, and I caught myself before I fell. I looked down at my notes and an inarticulate thought trickled into my skull, like sunshine after a rain shower. 

"Even if this isn't as good as anyone else's, it'll still be fun to write, won't it? I should just focus on having fun."

I don't know why it took me so long to remember that. Writing is supposed to be fun, you know. Even when it isn't. Even when it's agonizing and painful, like childbirth, or humdrum and dull, almost like work. It's still cathartic. It's still an escape. It's still a kick in the pants. Somewhere along the line I forgot that. I put too much pressure on myself to write a lot and write it well, better than anyone else. As an egocentric male, and as a human being who wants to leave this world richer than he found it, I stressed myself out trying to succeed on the first try. And predictably, my creativity suffered. I have to remember —and something tells me that I will from now on—that writing is not (just) about the destination. It's about the journey. 

Writing is like driving. You have to do it often to stay in practice. If you're only doing it to get paid and eat, it's no fun. It's nice to just take a quiet, pleasurable Sunday drive and see where you wind up. But not too fast: if you keep stomping the accelerator, you'll get frustrated and sloppy. You'll probably burn out your engine, too. Oh, and turn that radio down. It's good to listen to the sounds of the road. Too much background noise and you can't concentrate on what's important. If the engine starts acting up and you slow down, then it's time to take that baby to the repair shop—maybe even trade it in for a newer model. Get the picture?

Long story short, writing is an act of creation. And any act of creation, be it sculpture, oil-on-canvas, sand castles, babies, or fictitious worlds, should be a pleasurable one. 

Revelation over. 

a day in Singapore

I woke up at eight o'clock.

I passed a bundle of laundry to the desk clerk.

I asked for a towel and got one.

I showered and shaved. 

I marched down Kitchener and Serangoon Roads to the Mustafa Centre, where I exchanged 220 Thai baht, 10 U.S. dollars, and 361 Malaysian ringgit for 161 Singapore dollars. 

While I was there, I bought a padlock for my defunct locker back at Tresor Tavern.

All this I accomplished before eleven o'clock. 

I went back to the hostel and sat in the lobby, sweating, updating my journals and letting my parents know I was still alive. I also spent some time writing down the addresses of everything I wanted to see and eat in this town today (Thursday, July 31). 

I went to Chinatown to check out the Heritage Centre and was told it cost $10 SGD to get in. 

I said "Screw that with a pitchfork." 

I went to the foodie street and had some laksa, a spicy noodle soup in greasy orange broth which is central to Peranakan (Chinese-Malay) cuisine and Malaysia's national dish. It consists of rice vermicelli (though this touristy dump used spaghetti) in coconut milk and curry broth. My bowl included hard-boiled eggs, cockles, bean curd puffs, and bean sprouts, and cost $4.50 SGD.

I did not take a food selfie. Too hungry. 

On an impulse I walked across South Bridge Street and caught the open-top sightseeing bus for $25 SGD. We swung out west, down shady, tree-lined Havelock and Zion Roads, curving up to the Botanical Gardens (the one thing in Singapore that I didn't see and wish I had). Then we went dead east on Orchard Road. As clean, bright, and shiny as this city was, dazzlingly clear as it dried from the previous night's rain, there wasn't much to it besides shopping, eating, and authoritarianism. "HAPPY 49th BIRTHDAY, SINGAPORE!" squawked loud orange banners on every lamppost, but on the subway trains were stern admonishments to the citizens to be polite when boarding or exiting, to move to the back or offer your seat to an invalid. Public service announcements printed starkly in black, white, and red urged citizens to perform the vital five-step method to eradicate dengue fever (promptly emptying every container on your property of standing water). 

What was most jarring was seeing so many Occidental franchises. Malaysia and even Cambodia had KFC and Starbucks, and Seoul has Burger King and McDonalds and Coffee Bean & Tea Leaf, but Singapore was just mad—Long John Silver's, California Pizza Kitchen, Coldstone Creamery, Quizno's Subs, and everything else British or American. I was disappointed. Foreign excursions are supposed to be...well, foreign. And I hated to think that the average Singaporean's idea of western culture was a soggy McDonald's sandwich, some limp fries and a syrupy soft drink. 

The Singapore River. Really takes your breath away, doesn't it? 

After a short foray north and east to Sungei Road, the sightseeing bus dumped us out at the Singapore Flyer. Think the London Eye, but bigger—"the world's tallest observation wheel," proclaimed the posters and brochures. That was a blatant falsehood, as the High Roller in Las Vegas is actually taller, but I'm not the quibbling type—not when sweat's soaking my collar and the red bandanna I'd tied around my right hand and wrist for mopping and sopping purposes. 

Pro tip, kids: this is more fashionable than wrapping it around your forehead and more sanitary than sticking it back in your pocket after every wipe. Just be prepared for lots of concerned fellow travelers to ask you how you hurt your wrist. 

I caught the next bus to Clarke Quay and switched to the metro. I went back to the hostel, rested, rehydrated, and wrote some postcards (the fifth of seven batches). At 6:45, a time I judged with a pilot's careful precision, I caught a taxicab back to the Flyer to see the sunset from on high. 

The Flyer isn't very popular with the locals. According to TIME, they gripe that it's too far away from everything and costs too much. I didn't sympathize with the former sentiment but certainly the latter: tickets were $33 SGD. Concordantly, there wasn't much of a crowd. I rolled up at seven o'clock, bought a ticket, hustled through all the supplementary bullshit they put up to make waiting in line more interesting—planetariums and historical placards and whatnot—and got some fantastic views of the downtown area and Marina Bay. 

Then, of course, I went to O'Leary's Sports Bar & Grill—foreigner-owned and foreigner-run, looking like it had sprung from any broad boulevard in the Inland Empire—for a nightcap. What else but a Singapore sling? 

It was weak and sickly-sweet and cost $17 SGD, but what the hell. I can say I've had a Singapore sling in Singapore. 

I'd meant to sample the best that Little India could offer me in the way of eats, but my internal compass was taking a much-deserved rest. I couldn't find my intended destination, Bali Nasi Lemak in Geylang. So I went back to the neighborhood of my hostel and sat down in the same little halal Sri Lankan/Thai cafeteria where that snaggle-toothed Samaritan Singaporean had bought me a bottle of water the previous evening. I had some iced lychee juice and a plate of nasi goreng thai for just $4.50 SGD. For afters I had some sort of fried fish dumpling, also delectable. I couldn't discern the waiter's thick Tamil accent when I asked what it was. Sounded like "kampop." 

I got an A&W root beer for dessert (you don't see those every day in Asia) and returned to the hostel to update my journals. My time in Singapore was at an end. The next morning I would mail postcards, check out of the Tresor Tavern at noon, and catch the metro for Changi Airport. 

If you'd like to find out why I hate Singapore, come back tomorrow.