Mended Hearts Crossing

“Okay mom fine, I’m sorry I lied. I knew you were going to say no anyways!” Jess yells back to her mother who is doing 70 down the state highway 112 late for her other daughter's recital in Clallam Bay.

“I knew it! It’s moments like this where I can’t trust you! I asked you about your homework, your chores, and if you going to youth activity’s’ night, but instead you were running around with that Angela girl probably smoking pot or whatever the hell it is kids are doing nowadays!” Her mother yells over the radio. 

The tips of the Evergreens brush past in a blurred haze slashing the gray forecast sky. The two-way road winds into an endless trance curving through the dark forest and back out into the open grass. The mother reaches over to turn down the stereo. “And when did you learn to listen to this trash?” Jess rushes in to change it back, this time cranking it higher. “Oh hell no, you are not going to act like this young lady.” The mother insists with authority in her tone. “Angela is not like that mom, she was framed.”

“Excuse me, FRAMED?”

“Tyler planted that in her locker and now everyone thinks that she is a druggie.”

“YOU ARE 14 YEARS OLD AND I’M ALREADY HAVING THIS CONVERSATION WITH YOU??” 

The mother yells looking over to Jess.

“MOM LOOK OUT!!!”

The windshield shatters instantly bulging into the car with the entire vehicle spinning off the road all within a few seconds. A heavy figure slides off the hood and slumps to the middle of the road. After a few moments Jess sits there frozen in terror. “Mom? MOM? ARE YOU OKAY? MOM?” Jess cries out.

Her mother opens her eyes with her hands midway raised as if about to push something away. “I’m fine dear, are you okay?”

Jess starts to cry, “I’m fine mom but the airbags didn’t deploy,”

“I know sweetie. Can you move?”

“Yeah, I think so.”

After several minutes, the two work their way out of the car which appears normal in the back however twisted from the front bumper to the windshield wipers. Jess calmly takes her time regaining her balance. “Jess, honey, I don’t think it’s safe to walk. You should sit down and wait for help to get here.”

“Did we hit that?” Jess asks faintly while approaching the furred mass laid out on the double line divider. She discovers it was an adolescent deer – miraculously untouched. “Mom! Quick! We need to help her!” Jess says as she kneels down beside the deer. The animal’s head is now resting on her lap as Jess quietly sobs. From the deer’s eye runs a small tear of blood. “Jess! Don’t touch…” Her mother stops herself mid-sentence swallowed up in emotion as well. Jess runs her hands over the crown gently.

“Do you think it was quick? Do you think she felt anything?”

There is silence while the mother approaches her daughter and kneels down.

“Look mom, I’m sorry about lying to you. I don’t want to lose your trust.”

Jess is encircled by her mother.

"And I need to trust you more and be more open to hearing your side of the story.

"I'm so sorry mom."

“It’s okay, it’s okay.”

    

GWARs in my closet!!

“Daddy can you leave the door open? There’s space mutants in my closet.” The little boy says while partially buried under his covers. The father hesitates to leave the room with his hand still on the door knob.

“Who told you there were space mutants in your closet?”

“Ricky from school. He says they play really scary music and they eat people and violate primate animals, whatever that means.”

The father re-enters the bedroom and sits at the edge of his bed. “Well, for one thing this kid who told you all these stories has it all wrong.”

“He does?”

“Yes, he needs to get his facts straight about who these…space mutants really are.”

The boy sits up in his bed with excitement, “Who are they REALLY??”

The father tries to calm his son down while stretching the covers over him. “Believe it or not, but they are the ones that are actually protecting you. Ricky must’ve lied about that.”

“But he showed me a picture of them and they really do look scary and one has metal jaws for a head, how are they the good guys?”

The father looks slightly defeated while carefully thinking through his next response. “Well, one would think that they look mean, but that’s just the way they were made.”

“Who made them?” Asked the boy.

“There were…bad guys in outer space who were taking over galaxies and these space mutants were created to fight those bad guys.” The father responds confidently.

“Well if that’s true, why did Ricky say that they eat humans and live on earth and were frozen in Antarctica?”

“Who are you going to believe? Ricky or your old man?”

The boy smiles, “You, dad.” He lays back into his bed and turns over already asleep.

The mother stands by the doorway, “Nick? You didn’t tell him about what that band is really about, did you?” He scoffs, “Oh no, I would never try to explain that to a seven year old, but I had to play the offense on this if some punk kid is going to try to scare him.”

Mar-Queso Feature: DAVID A. SMITH

It is with great honor to present to you David A. Smith, best known for photographing countless shows that have come through the Southern Area of the United States. He has built his legacy on capturing the moments of several major acts such as Sara Evans, Carrie Underwood, Tegan and Sara, Ra Ra Riot, and CeeLo Green to name a few. His photographs have been used and licensed by AOL, Buzzfeed, Entertainment Weekly, ESPN, The New York Times, Time, Vanity Fair, and many more. On top of all his accomplishments, he is also known for photographing portraits and wedding events. David currently resides in Birmingham, Alabama.

MQ: How did you get into photography? How many years have you been doing it?

DS: I picked up photography strictly as a hobby after I graduated college in 2004. It was something I was interested in doing and had friends doing as well. I didn’t know what I was doing, though, but I just went out and tried a lot of trial and error. As for concert photography, that didn’t start, consistently, until around 2007 or so. I lived in Tuscaloosa, Alabama – a college town, so there were always local shows to photograph.

MQ: That is so cool. I’ve had several friends in high school who would photograph local shows from behind the curtain. What was some of the equipment you would use, starting out? How would you get the shots just right with the lighting being so dark?

DS: When I was first staring out, I was using a Canon Digital Rebel and basic kit lenses. I would then work up to using a 40D and 50D as other earlier bodies. I had non-DSLR cameras before that, but the Rebel was the first. As for lighting, well, I had no idea you weren't supposed to use a flash. I mean I had zero concept about the "rules" and we're also talking about local non-credentialed shows. I used an external flash for those local shows. It's something I wouldn't do now, but I have zero apologies for doing it then.

MQ: What were some of your most memorable moments at a show you were able to capture through the camera (if it's even possible to narrow it down)?

DS: Oh... there are lots. If I had to narrow one down, it would be the night in July of 2010 when I went to Egan's Bar, where I usually shot shows in Tuscaloosa, to see who was playing that particular Saturday night. Summer is always a slow time in town so I didn't expect much. Turns out it was this band from north Alabama called "The Shakes". I was like "They're pretty damn good for a Saturday night in July band". A year or so later... they blew up, started getting momentum, and changed their name to "Alabama Shakes". I mean they are literally why I'm doing credentialed shows now so that first show I saw them do will always stick with me.

MQ: The Alabama Shakes?? They're huge now! Oh wow that's really neat. When these shows go on, what is it that you look for as a photographer? What makes your camera go click, in that moment they are performing?

DS: When I shoot a show now, I'm looking for emotion from the performer. I'm looking for energy. I'm looking for some type of expression. The photograph has to tell the story of the performance. From a practical point of view, I'm looking for adequate to decent lighting, a good solid shot of at least the artist's face, and similar things like that. I make my money by the photo being able to clearly identify the artist on stage.

MQ: When you started out in your craft, would you have to fight for a good spot to shoot? Or was there always some sort of accommodation to where you could set up for a good vantage point?

DS: When I was shooting at bars, which were very small and tight, I'd usually get up front early and stay there. Most people knew who I was so it'd never be a problem in getting to where I needed to be.

MQ: I have to ask, what was it like to see Carrie Underwood, Blink 182, Chromeo, Tegan and Sara, St. Lucia, and even GWAR live on stage???? How were you preparing to capture them through the lens?

DS: They all put on really good and entertaining shows. Each group and act know the value of putting on a visual performance. GWAR was nuts because you have to duck and dodge all the stuff they throw into the crowd. As for preparation, I do standard research for each act I cover, including seeing current photos to get an idea of how their stage set up looks and what kind of lighting to expect. I try not to go into any show blind.

MQ: Aside from all the shows you've photographed, what about your other projects with wedding portraits and profiles of people you have captured. How did you get into that? Or was that in the beginning of your endeavor?

DS: Aside from shows, I have a completely separate side of the business to handle my weddings, portraits, and events work. It's under a different but similar name as I wanted a clear and distinct difference in the eyes of the public. When I started out, I didn't think I'd do weddings. I was happy just experimenting with things, shooting high school football and the local shows. A friend got married and I offered to do his photography as a gift. It was a very small outdoor wedding. When I did that, I was like "Well, I might was well jump feet first into this". I started doing weddings full on in 2010 and love doing them. I learned a lot about how to do them from shooting high school football. Both are all about anticipation of movement, being in the right place at the right time, and thinking on your feet.

MQ: That's really neat! So lastly I just wanted to ask about any advice you may have for those looking to start taking up photography?

DS: If you do take up photography, just get out and practice. See what works and see what doesn't. Trial and error is key in the learning process. I also encourage people to find their particular style and look. Don't worry about copying the look of other photographers. Do what appeals to you and let others find it.

For more information and to see his work, you can visit his sites at the following links:

dsmithscenes.com

dsmithimages.com

Stop and Stare

For today's post, I just wanted to share this "wannabe" book cover art that I was messing around with for another potential project that I may endeavor on in a distant future. I have already shared a few "samples" from the beginning chapters. This was from a creative writing exercise from way-back-when. I always marveled at book covers. The whole process with what the artist does to try to sum up a novel in just an image is fascinating. I mean they set the tone of the story and what it could reveal prior to the reader beginning the journey. They do say that you should never judge a book by it's cover, but some of them just make you stop and stare, I guess...

1-800-555-BURN

“Press ZERO or say REPRESENTATIVE to reach an operator”

“Representative,” The caller says with some authority.

“Please hold for the next available associate. Your call may be monitored or recorded for quality assurance purposes.” The cheap jazz queues in following the automated message.

23 MINUTES LATER

“Good Afternoon and thank you for calling So Cool Entertainment, my name is Jillian representative number 332602. How may I help you today?”

“Yes, hi Jillian, I have been trying to cancel my account for a couple of months now, and I keep getting blown off or transferred with some ridiculous wait time and counter offered with more stuff that I will have to pay for later on. Jillian, I think you are the one to help me out here. Please, I want to cancel this account. I don’t ever remember signing up for this. I just bought one DVD at one of your stores and they tried to sign me up with all kinds of useless stuff. I’m done, help me.”

There is a pause on the other end of the line as Jillian is heard typing at her keyboard.

“Ok, well I apologize for the inconvenience and certainly we can help you out by cancelling your accounts.”

“Wait a minute, accounts? Like there’s more than one?”

“I’m showing you have the VIP Package, Backdoor Pass, MVP bundle, and the Stardom Rewards Card.”

“Whoa, whoa, whoa, they never mentioned anything about all of those! How much has that been costing me?”

“I’m showing on your profile that it has accumulated over 2,300 dollars.”

“What?! Are you mad?? I’m not paying that!”

“Ok, well then, let me see what I can do,” She continues to click away on her keyboard through the receiving end of the phone. “I can sign you up for a no interest for the first year line of credit to any of our chain stores in the country.”

“I WANTED TO CANCEL EVERYTHING! What does that have to do with helping me out with this past due amount?”

“I apologize again, sir. I am looking into another program on how we can reduce the interest on that account.”

“I don’t want any more accounts, I just would like to cancel this altogether and not pay that absurd amount, is that possible, please.”

“I apologize, sir. The computer is not letting me remove your account unless the debt has been paid.”

“Look, just put me through to your manager. I need to speak to whoever is in charge, right now.”

“Please hold.” The cheap jazz queues in for a blip and then another voice comes on.

“Hello this is Derek. How can I help you?”

“Yes, hi, are you the manager? I need to cancel all these accounts I apparently have. But I never remembered signing up for and they are saying that I owe over 2,000 dollars in interest and membership fees for these accounts. I never signed up for these.”

“I’m sorry sir, I am not the manager, the call was transferred to me just now. If you would like, I can get the manager for you but she is out right now. I can take down your name and contact information if you would like.”

“…Sure,”

“I’m ready when you are sir.”

“It’s Dave Matthews,”

“Ok”

“Address is 123 Any Street,”

“And is that one word or two?”

“Two. City is I’m Going,”

“Ok, and the state?”

“To sue all of you,”

“Oh um, I’m not pulling that state up for some reason, is that in America? Hello? Are you there?”

The disgruntled caller hangs up on him.

  

Mar-Queso Feature: EMILY VAJDA

Hello Everyone! I hope you all had a great holiday and a happy new year. I have had the privilege of interviewing a fellow writer, blogger, and friend – Emily Vajda. She is an inspiring writer who shares a wealth of insight from staying motivated in pushing through literary projects to the core of her voice retelling the wonders of life along with all it's crazy and chaotic manifestations on emilyvajda.wordpress.com. She is also known for singing, and acting. She works for a literary agency and resides in Seattle, WA.

MQ: After doing some research, I came across your Facebook page and noticed that you work for Kimberely Cameron and Associates. This sounds crazy but I actually queried them once (looking back, I was mortified, because my book was at the time nowhere near ready). With that, what has been your personal “rule of thumb” for a successful query?

EV: I think you answered that question already. I would say a successful query is a query that is polished, that is, a manuscript that is polished. I don’t just mean one draft, we’re talking five, maybe ten drafts later. I encourage writers to find an editor to look over the MS before querying. Having an editor’s eye is invaluable and worth every single penny. I also encourage people to resubmit with revised pages. Happy to hear that you queried our agency, but don’t give up. Polish those pages, spend another six months revising, and try again.

MQ: From your experience at writer’s conferences, what should a first time attendee expect? What are some DO’s and DON’T’s?

EV: I recently attended my first conference and I was SO nervous, I had no idea what to expect. What I found out was that the conference will be what you make of it. I found it an incredible way to network and begin to build a writerly community, and brought little business cards I had made that week, to slip to people I met in order to keep in contact. The business card had my name, facebook, twitter, and website info, as well as my novel’s information.

DO spend the money to pitch to agents and editors in person at the conference – it is worth it! It gives you a chance to get to know these agents and editors and to see if you are a good fit personality-wise, not just genre-wise. Don’t feel as though you need to have a polished MS at that time – be a good three drafts in, for sure, but go ahead and pitch. If an agent is interested and your MS isn’t ready, don’t send it to them. The agent will wait. You get one chance, and you want the product you send to be bullet-proof.

DON’T talk about yourself too much. So often you see people networking and schmoozing, but only to get their own name out there into the literary world. Listen to others. Let them talk to you too. Build a relationship and BAM – you’ve got a literary contact.

MQ: I apologize if this comes off too personal, but what advice have you received in the past as a writer?

EV: Advice that I have received as a writer is to read. You won’t be a good writer unless you’re a good reader. So take the time to read all different genres, good AND bad examples of literature. There is something to be said about learning what NOT to do when you read a poorly written book.

MQ: Last question, I’ve noticed that self-publishing has been gaining more popularity than ever. However, I am still biased to the traditional publishing world, what are the pro’s to still going the traditional route?

EV:  I’m biased to the traditional publishing route as well and I won’t self-publish my novel until/unless every single agent/editor has rejected my novel. A huge PRO for traditional publishing is that by being published, it is as though there is already a brand stamped onto your book that it has been deemed worthy. Because “anyone” can self-publish these days, it is hard to find a way to stand out amongst the crowd. However, when you have a publishing house, you’re already one step ahead. Also, I think, at least for me, being traditionally published is the way that I want to begin my career and build my career. A huge CON to self-publishing is that, sure, it’s easy and fast, and it feels good to see your work published. However, once you self-publish, it is very challenging to go back to the traditional route. Most agents will not even look at material that has been self-published, so you need to be prepared to submit brand new material to an agent. 

iWish

"Can you hoax me now?"

“Ok sir, just take it slow, and run it by me again on what exactly happened.” The police officer asks the cell phone retailer. He sits there looking very disturbed – almost unable to respond at all.

The police officer leans in a little closer, “Sir, I can’t leave here until I get a report firsthand on what happened here. Can you help me out here?”

The store is like a cubby built into the grand avenue of many stores, but out of all the 532 stores, this one was the only one attacked.

“What happened?” The officer now stands back up with a sigh.

“He, he just came in – an older man…” The officer starts to scribble away at the sudden testimony.

“…I believe our other branch serviced him a packaged deal where you could get two phones for the price of one and have twice the data versus our competitors and, and…” The retailer pauses mid-sentence as if trying to work up how to explain the rest. “…go on.” The police officer encourages.

“...and he came into this store – right here, very angry. Now this was only a month into buying the contract and the phones, but he started shouting that he thought our service sucked and that our data was only unlimited because he shouted that it was crap. He then mentioned how he tried to get out of his contract and that the customer service number kept giving him the run around. After that I tried to talk to him but said that there was nothing I could do for him and then he lit up the fireworks.” The retailer pauses for a moment.

The police officer kneels back down, “Go on, I’m listening, then what?”

“He threw them in the middle of the store and ran out.”

“That was it?” The police officer asks.

“Yeah,”

“How much damage is the store claiming with the insurance company?”

“About 60,000.”

The police officer gets up again. “May I see the surveillance videos again?”