Writing about the American Dream

I've become fascinated with novels that grapple with corruption of the American Dream. In my mind, many of the best American novels explore this subject, so it's not surprising that my novel attempts to cover some of the same ground. Some of my favorite stories working this vein include:

• John Steinbeck's "The Winter of Our Discontent" and "Of Mice and Men"

• F. Scott Fitzgerald's "The Great Gatsby"

• Richard Yates' "Revolutionary Road"

• T.C. Boyle's "Tortilla Curtain"

• Arthur Miller's "Death of a Salesman"

In each of these stories, characters misinterpret or manipulate the spirit of the Dream to meet their own needs. In doing so, they descend down a dark path toward self destruction, often taking down those around them.

The term "American Dream" was originally coined by James Truslow Adams in his 1931 book "The Epics of America." Even before Adams articulated the concept, the Dream played a role in driving immigration to the United States. Throughout the world, people have long seen America as a symbol of opportunity, entrepreneurship and freedom of spirit - ideals that are universally desirable.

My own definition of the American Dream: In America, anyone - regardless of economic class, color, or sex - is free to use his or her talents and drive to achieve their maximum potential.

So what is it about this concept that lends itself to corruption? Trouble arises when "maximum potential" is equated with maximum wealth or power. When opportunity is confused with entitlement. When happiness is expected regardless of one's employment of talent or drive. Or when one person's dream is in direct conflict with another's.

For a time, I worked as coordinator of a politically charged watershed management project at the base of Pikes Peak. This experience exposed me to a fascinating juxtaposition of the Old West vs. the New West, as the ever-expanding city of Colorado Springs imposed its will on established ranches and municipalities around it. Here the American Dream was in sharp focus, as strong-willed ranchers, developers, businessmen, and politicians fought to exploit the land and the region's resources to suit their own interests. Everyone had an agenda, and no one was interested in compromise. The struggle was epic, and in retrospect, served as a study in character.

I met some fantastic people through my work on the project (here I use the term "fantastic" to mean "so extreme as to challenge belief"). Some of their stories and situations serve loosely as inspiration for my novel.

The setting for my novel is the Front Range of Colorado, where rapid population growth has pushed cities into the backyards of older, established ranching families. I am exploring three primary characters that are in various stages of living the American Dream.

1. A fourth generation rancher is clinging to his lifestyle and fighting to protect his family legacy.

2. A burned out, failed businessman is taking refuge in a rundown farmhouse nearby.

3. A rising developer has his sights set on the rancher's property for a major project.

The rancher and the businessman dislike each other initially but eventually form an odd friendship in their mutual time of need. As the rancher spirals downward, the businessman regains his strength, and together, they hatch a plan for moving forward with their lives.

Should be easy, right??? If I can wrap all of this into a 100,000-word novel I would want to read myself, I will be thrilled.

I have tried writing this story a few different ways, from different points of view. I am currently writing in first person from the perspective of the failed businessman, who by witnessing and participating in this conflict regains purpose in his life.

In a previous version, I wrote in the third person, alternating between the rancher and the developer. I left the businessman out of the story.

My biggest challenge has been avoiding stereotypical good guy/bad developer angles. I am consciously working to present all characters fairly and honestly, allowing each to have positive attributes as well as flaws.

Next week, I may post a passage or two from my draft.

One footnote: the watershed project I mentioned eventually went down in flames when the city of Colorado Springs realized they were being painted as the bad guys. They took control of the funding, got rid of anyone who disagreed with their views (read: me), and made sure project participants were too busy conducting studies to form an opinion about anything.

Ahhh...government at its finest.

On drums...JOHN STEINBECK!!!

Each afternoon, I leave my office for an hour and walk along the river. As I walk, I usually listen to music on my Iphone, as this is the only time of day I can choose songs without fear of judgment (some of my tastes are considered unpleasant and/or embarrassing to my family).

As a lifelong drummer, I lean toward music that features drummers who practice their craft as an art form. Today I was struck by the realization that writing and drumming have a great deal in common.

A writer's craft is to establish irresistible rhythm and cadence in a story, using well-chosen words, punctuated phrases and varied sentence structure to build to an emotional climax. A drummer does this as well, choosing notes instead of words and punctuating his phrases with fills and crashes.

As with music, a good writer knows that it's not the notes you play that matter. It's the notes you don't play. Economy of language often separates professionals from amateurs.

Great writers and great drummers assert their presence without drawing attention to themselves. When at their best, a performance can be enjoyed without really noticing the artist. A guise of transparency, or verisimilitude, belies the virtuosity hidden within.

The best writers have a musicality to their writing, adding lyrical and melodic components to their language. Drummers do this too, by carefully placing the tones of their drums and "colors" of their cymbals.

When on top of their game, true artists make everything look effortless. Complex works like Dostoevsky's Crime and Punishment could never be enjoyed if written by a hack. The same is true of Keith Moon's playing on Quadrophenia.

Sometimes, keeping it simple is the most challenging approach. Just ask Ernest Hemingway or John Bonham (if either of them were alive). "Simple" should never be confused with "easy." As Hemingway said, "know how complicated it is, and then state it simply."

A handful of drummers move adeptly from style to style. Jeff Porcaro comes to mind. Porcaro was perhaps the T.C. Boyle of the drums.

As for combining sheer technical abilities with impeccable taste and style? I would choose Vinnie Colaiuta (drums) and Phillip Roth (keyboard).

Today I will practice writing rhythmically and lyrically, only crashing when absolutely necessary.