In so many ways, these rap sessions weren't much different than the Thursday-night writers' workshop I attended. Both groups were just people telling their stories. The sexaholics might've been a little less concerned about "craft," but they still told their stories of anonymous bathroom sex and prostitutes with enough skill to get a good reaction from their audience. Many of these people had talked in meetings for so many years that hearing them, you heard a great soliloquy. A brilliant actor playing him- or herself. A one-person monologue that showed an instinct for slowly revealing key information, creating dramatic tension, setting up payoffs and completely enrolling the listener.
For Choke, I also sat with Alzheimer's patients as a volunteer. My role was just to ask them about the old photographs each patient kept in a box in their closet, to try and spur their memory. It was a job the nursing staff didn't have time to do. And, again, it was about telling stories. One subplot of Choke came together as, day by day, each patient would look at the same photo, but tell a different story about it. One day, the beautiful bare-breasted woman would be their wife. The next day, she was some woman they met in Mexico while serving in the navy. The next day, the woman was an old friend from work. What struck me is… they had to create a story to explain who she was. Even if they'd forgotten, they'd never admit it. A faulty well-told story was always better than admitting they didn't recognize this woman.
Telephone sex lines, illness support groups, twelve-step groups, all these places are schools for learning how to tell a story effectively. Out loud. To people. Not just to look for ideas, but how to perform.
We live our lives according to stories. About being Irish or being black. About working hard or shooting heroin. Being male or female. And we spend our lives looking for evidence-facts and proof-that support our story. As a writer, you just recognize that part of human nature. Each time you create a character, you look at the world as that character, looking for the details that make that reality the one true reality.
Like a lawyer arguing a case in a courtroom, you become an advocate who wants the reader to accept the truth of your character's worldview. You want to give the reader a break from their own life. From their own life story.
This is how I create a character. I tend to give each character an education and a skill set that limits how they see the world. A house cleaner sees the world as an endless series of stains to remove. A fashion model sees the world as a series of rivals for public attention. A failed medical student sees nothing but the moles and twitches that might be the early signs of a terminal illness.
During this same period when I started writing, friends and I started a weekly tradition we called "Game Night." Every Sunday evening we'd meet to play party games, like charades. Some nights we'd never start the game. All we needed was the excuse, and sometimes a structure, to be together. If I was stuck in my writing, looking for a new way to develop a theme, I'd do what I'd later call "crowd seeding." I'd throw out a topic of conversation, maybe tell a quick funny story and prompt people to tell their own versions.
Writing Survivor, I'd bring up the topic of cleaning hints, and people would provide them for hours. For Choke, it was coded security announcements. For Diary, I told stories about what I'd found, or left, sealed inside the walls of houses I'd worked on. Hearing my handful of stories, my friends told theirs. And their guests told their stories. And within one evening, I had enough for a book.
In this way, even the lonely act of writing becomes an excuse to be around people. In turn, the people fuel the storytelling.
Alone. Together. Fact. Fiction. It's a cycle.
Comedy. Tragedy. Light. Dark. They define each other.
It works, but only if you don't get stuck too long in any one place.
Testy Festy
A pretty blonde tilts her cowboy hat farther back on her head. This is so she can deep-throat a cowboy without her hat brim hitting him in the gut. This is on a stage, in a crowded bar. Both of them are naked and smeared with chocolate pudding and whipped cream. This they call the "Co-Ed Body Painting Contest." The stage is red carpet. The lights, fluorescent. The crowd chants, "We want head! We want head!"
The cowboy sprays whipped cream in the crack of the blonde's ass and eats it out. The blonde masturbates him with a handful of chocolate pudding. Another couple take the stage and the man licks pudding out of the woman's shaved pussy. A girl with a brown ponytail in a halter top sucks off a kid with an uncut dick.
This is while the crowd sings "You've Lost That Loving Feeling."
As the girl leaves the stage, one of her girlfriends shouts, "You sucked him, you little bitch!"
The crowd is packed in, smoking cigars, drinking Rainier Beer, drinking Schmidt's and Miller, eating deep-fried bull gonads dipped in ranch dressing. You smell sweat, and when somebody farts, the chocolate pudding doesn't look like pudding anymore.
This is the Rock Creek Lodge Testicle Festival just getting started.
This is some fifteen miles south of Missoula, Montana, where this same weekend drag queens from a dozen states meet to crown their Empress. This is why hundreds of Christians have come into town, to sit on street corners in lawn chairs and point at the drag queens strutting in miniskirts, and at the fifteen thousand leather bikers roaring through town on choppers. The Christians point and shout, "Demon! I can see you, demon! You are not hiding!"
For just this one weekend, the first weekend in September, Missoula is the center of the frigging universe.
At the Rock Creek Lodge, people climb the "Stairway to Heaven," the outdoor stage, all weekend to do, well… you name it.
A stone's throw to the east, trucks go by on Interstate 90, blowing their air horns as the girls onstage hook their legs over the railings and pump their shaved pussies in the air. Half a stone's throw to the west, the Burlington Northern freight trains slow to get a better look and blow their sirens.
"I built the stage with thirteen steps," says festival founder Rod Jackson. "It could always be a gallows."
Except that it's painted red, the stage looks like a gallows.
During the women's wet T-shirt contest, the stage surrounded by bikers and college kids and yuppies and truckers, skinny cowboys and rednecks, a blonde in clunky high heels hooks one leg over the stage railing and squats low on her other leg so the crowd can reach up and finger her.
The crowd chants, "Beaver! Beaver! Beaver!"
A blonde with short hair and a ring through her labia grabs the garden hose from the wet T-shirt organizer. She douches with the hose and squats at the edge of the stage, spraying the crowd.
Two brunettes suck each other's wet breasts and French kiss. Another woman leads a German shepherd up on stage. She leans back, pumping her hips as she holds the dog's mouth between her legs.
A couple in buckskin costumes climb the stage and strip. They copulate in a lot of different positions while the crowd chants, "Fuck her! Fuck her! Fuck her!"
A blond college girl balances with both feet up on the stage railing and slowly lowers her shaved pussy onto the smiling face of the contest organizer, Gary "the Hoser," while the crowd sings "London Bridge Is Falling Down."
In the souvenir shop, naked sunburned people stand in line to buy souvenir T-shirts ($11.95). Men in black Testicle Festival thongs ($5.95) buy hand-carved dildos called "Montana Wood Peckers" ($15.00). On the outdoor stage, under the big Montana sun, with the traffic and trains honking, a wood pecker disappears into a nude woman.
The line of souvenir shoppers edges past a barrel full of walking sticks, each stick a yard long, leathery brown, and sticky to the touch. A good-sized woman waiting to buy a T-shirt says, "Those are dried bull dicks." She says how you can get the penises from butcher shops or slaughterhouses, then stretch and dry them. You finish them like furniture, with a light sanding and many coats of varnish.