Stranger Than Fiction (True Stories)

Palahniuk Charles Michael «Chuck»

It's no longer God waiting in judgment. It's the marketplace.

Maybe a book contract is the new halo. Our new reward for surviving with strength and character. Instead of heaven, we get money and media attention.

Maybe a movie starring Julia Roberts, bigger than life and pretty as an angel, is the only afterlife we get.

And that's only if… your life, your story is something you can package and market and sell.

In another way, this is so much like the crowd here last month, when a television game show was auditioning contestants. To answer brain teasers. Or the month before, when producers for a daytime talk show were here, looking for troubled people who wanted to air their problems on national television… fathers and sons who've shared the same sex partner. Or mothers suing for child support. Or anyone getting a sex change.

Then, sorry, your seven minutes is up.

The philosopher Martin Heidegger pointed out how human beings tend to look at the world as a standing stock of material, ready for us to use. As inventory to be processed into something more valuable. Trees into wood. Animals into meat. He called this world of raw natural resources: bestand. It seems inevitable that people without access to natural bestand such as oil wells or diamond mines, that they'd turn to the only inventory they do have-their lives.

More and more, the bestand of our era is our own intellectual property. Our ideas. Our life stories. Our experience.

What people used to endure or enjoy-all those plot-point events of potty training and honeymoons and lung cancer-now they can be shaped to best effect and sold.

The trick is to pay attention. Take notes.

The problem with seeing the world as bestand, Heidegger said, was it leads you to use things, enslave and exploit things and people, for your own benefit.

With this in mind, is it possible to enslave yourself?

Martin Heidegger also points out that an event is shaped by the presence of the observer. A tree falling in the forest is somehow different if someone is there, noting and accenting the details in order to turn it into a Julia Roberts vehicle.

If only by distorting events, tweaking them for more dramatic impact, exaggerating them to the point you forget your actual history-you forget who you are-is it possible to exploit your own life for the sake of a marketable story?

But then, sorry, but your seven minutes is up.

Maybe we should've seen this coming.

In the 1960s and 70s, televised cooking shows coaxed a rising class of people to spend their extra time and money on food and wine. From eating, they moved on to cooking. Led by how-to experts like Julia Child and Graham Kerr, we exploded the market for Viking ranges and copper cookware. In the 1980s, with the freedom of VCRs and CD players, entertainment moved in to become our new obsession.

Movies became the field where people could meet and debate, like they did over soufflés and wine a decade before. Like Julia Child had, Gene Siskel and Roger Ebert appeared on television and taught us how to split hairs. Entertainment became the next place to invest our extra time and money.

Instead of the vintage and bouquet and legs of a wine, we talked about the effective use of voice-over and backstory and character development.

In the 1990s, we turned to books. And instead of Roger Ebert it was Oprah Winfrey.

Still, the really big difference was, you could cook at home. You really couldn't make a movie, not at home. But, you could write a book. Or a screenplay. And those do become movies.

The screenwriter Andrew Kevin Walker once said that no one in Los Angeles is ever more than fifty feet from a screenplay. They're stowed in the trunks of cars. In desk drawers at work. In laptop computers. Always ready to be pitched. A winning lottery ticket looking for its jackpot. An uncashed paycheck.

For the first time in history, five factors have aligned to bring about this explosion in storytelling. In no particular order the factors are:

Free time.

Technology.

Material.

Education.

And disgust.

The first seems simple. More people have more free time. People are retiring and living longer. Our standard of living and social safety net allows people to work fewer hours. Plus, as more people recognize the value of storytelling-but strictly as book and movie material-more people see writing, reading, and research as something more than just a highbrow recreation. Writing's not just a nice little hobby. It's becoming a bona fide financial endeavor worth your time and energy. Telling anyone that you write always prompts the question "What have you published?" Our expectation is: writing equals money. Or good writing should. Still, it would be damn near impossible to get your work seen if not for the second factor:

Technology. For a small investment, you can be published on the Internet, accessible to millions of people worldwide. Printers and small presses can provide any number of on-demand hard-copy books for anybody with the money to self-publish. Or subsidy publish. Or vanity publish. Or whatever you want to call it. Anybody who can use a photocopy machine and a stapler can publish a book. It's never been so easy. Never in history have so many books hit the market each year. All of them filled with the third factor:

Material. As more people grow old, with the experience of a lifetime to remember, the more they worry about losing it. All those memories. Their best formulas, stories, routines for making a dinner table burst into laughter. Their legacy. Their life. Just a touch of Alzheimer's disease, and it could all disappear. Besides, all our best adventures seem to be behind us. So it feels good to relive them, to share them on paper. Organizing and making all that flotsam and jetsam make sense. Wrapping it up, neat and tidy, and putting a nice bow on top. The first volume in the three-volume boxed set that will be your life. The "best of" NFL highlights tape of your life. All in one place, your reasons for doing what you did. Your explanation why, in case anyone wants to know.

And thank God for factor number four:

Education. Because at least we all know how to keyboard. We know where to put the commas… kind of. Pretty much. We have automatic spell-checking. We're not afraid to sit down and take a swing at the job of book writing. Stephen King makes it look so easy. All those books. And Irvine Welsh, he makes it look like fun, the last place you can do drugs and commit crimes and not get arrested, or fat, or sick. Besides, we've read books all our lives. We've seen a million movies. In fact, that's part of our motivation, the fifth factor: