30 September 2008

My Final Day of Freedom

Confession: My #2 most embarrassing moment was the time I got stuck in the men's bathroom at a TCBY yogurt and had to kick open the door. In the process, I stepped in the toilet, and after having made lots of noise, I had to stomp back through the restaurant with one wet leg. You're not getting #1.

So... we come to it at last.

I spent all day yesterday itching to start. Some days at work it is easy to concentrate, but yesterday was not among them. I spent all day trying not to run through plotlines in my head or compile elaborate lists of characters and their motivations. Most people can make it through a day just fine without doing those things, after all.

Yesterday evening, I took a nice walk. Not quite a Ramble, since I was listening to Jonathan Strange and Mr. Norrell, and thus not thinking at all about my own novel. But I plan to keep reading/listening as the month goes on, if only to step away from writing for a little while. Cleansing my palette, as it were. (I know it's spelled palate in regards to food. It's an elaborate pun. Never mind.)

So now I'm going to do that elaborate list of characters, including physical descriptions, which I so often neglect. Oh yeah, spoiler alert.

  • Bryony - I won't go into her character, because I know it well enough not to need to invent it here. As far as appearance, she starts off as a very slight girl, almost waifish. She has very dark hair, almost black, that hangs straight to her shoulders. Her eyes are brown and her skin pale, with a scattering of small freckles across her nose. When she gets older, she gets taller, and for a while feels like she's all knees and elbows. As an adult, she has remained slim. Remark: "You're a natural attendee, girl. Turn sideways, and you can disappear until you're wanted."

  • Elma - Smiling, matronly woman with fat cheeks and tightly curled gray hair. Her manner is kind and conciliatory. She works in the needlecrafts, and spends her life in one large knitting circle. She doesn't really understand conflict, but it doesn't bother her in the slightest. She has an unshakeable faith that everyone is good at heart. Not the most talented craftswoman, but valuable because she manages to defuse conflicts before they start. Earlier in life, she sat attendance upon a highborn girl (Illiantine? Would make sense in a way.), but came to the market when the child outgrew her. Chosen to watch over Bryony because of that experience.

  • Gessica - Mistress of the market. She is very, very aware that she was exalted to her position through a testing, and as a result, feels justified in her belief that she is better than everyone. She is a capable administrator, and has a keen insight into the minds and attitudes of the people under her. It was she who accepted Elma, recognizing her talents.

    Gessica is in her mid forties as the story starts, and is the youngest of the mistresses of the markets. She is a stickler for protocol, in part because she was so often neglected earlier in her career as mistress, which began when she was thirty--a record. She has tried to cultivate a regard for herself second only to the highborn, insisting on the title of Mistress even in non-formal situations. She is unusual among the high middling in that she will meet with the lowborn herself, without resorting to a middle man. As a result, she achieves better deals.

    She is extremely jealous of her own position and regard, however, and therefore sees Bryony as a potential threat. There is a fascination with the highborn among the middling, as royalty to commoners, and the idea of a highborn girl, even one set middling, threatens the order of things. The Patroness did not want her moved, so Gessica couldn't get rid of her. Instead, she encourages the bullying and discrimination against her by the others, so that her own status is clear. Of course, when Byrony is chosen to be her successor, the threat becomes amplified.

  • Yancy - Bryony's first, and best friend. Yancy is extremely open and straightforward, and her one weakness is that she will speak her mind to anyone. But there's no malice in her, and she's refreshing to have around. As she grows older, she learns to guard her tongue around those other than her close friends, and serves as Bryony's deputy.

    Yancy is from Far Aquafell, one of the southern islands; her parents were among the staff of the king of Aquafell, who were gifted to the Hoeningcourt family (the family of the Patroness) during a trip to the capital. She has no memory of her original home, however, and has essentially lived in the capital all her life. She has the deeply tanned complexion of the Aquafeill, with almond shaped eyes and hair as dark as Bryony's. She is very sturdily built, and her active lifestyle matches her personality.

    She is looked down on as a "provincial," even though she grew up in the capital. They have a stereotype of being rude and uncultured, unintelligent, and smelly. Of these, Yancy may be rude, but certainly none of the others. The Aquafeill in particular also have a reputation for exotic beauty, which amuses Yancy to no end.

  • Devan - A couple of years older than Bryony, Devan has shaggy brown hair and an athletic build. He also has green eyes, which is unusual among the middling, although exotic eye colors are much in vogue among the highborn. Later on, once he is brought low, he is nicknamed Kel Greeneyes.

    He is impulsive and volatile in temper, quick to anger and quick to forgive. He will be angry, then suddenly laugh at himself, the anger gone. That trait can be disconcerting at first, because those with less rapid changes of emotions struggle to keep up. He will occasionally act just be be cheeky and stir things up without considering the consequences, and lead others along with him. Among the others of his age, he is well regarded without being part of the popular crowd, and can flit among the social groups, being friends with all of them, but a member of none. He befriends Bryony and Yancy as he defends them from bullies, and when they get him out of trouble at another point, their friendship is cemented. Occasionally, Devan gets serious, and you get the idea that this is the real him, underneath the banter. He betrays great insight at these moments.

    The most disturbing thing to Bryony after Devan is brought low is the change in him. He is serious all the time, and tells her that he has nothing to smile at. The scars he bears give him a somewhat grotesque appearance, but Bryony doesn't see them as part of him, more like a mask on a handsome face. She tries to keep in touch with him, but they have a falling out for a while, as Devan is trying to come to terms with his new life, and seeing Bryony only reacquaints him with the life with her that is denied to him. When they reunite, he becomes the leader of her lowborn army, and some of his humor reasserts itself, if in a grim way.

  • Shulash - In his 50s as the story opens, brown hair streaked with gray, and with a tight beard cupping his chin. He's never presentable enough to come up to the main levels, although the highborn men who offer him their custom often deign to come down to him. He manages to treat them as equals while still deferring to them, and it gives the highborn a sense of social liberalism to be treated so.

    Shulash constantly berates his underlings, but they've learned what criticism to take, and what to ignore. They are devoted to him, and his slightest praise is worth mountains of gold to them. He talks of iron as if it's a living thing whose will must be conquered, and this gives Bryony a magical insight--that all matter has a will, which can be convinced or conquered as the purpose warrants.

  • Eddard - Shulash's twin brother, an identical twin by birth but not by appearance. His hair is dyed to its original brown and kept short, and he is clean shaven. He does the delicate silver and gold work, jewelry and fittings and ornamentation. Shulash always talks about how Eddard ruins his blades with all the gold and silver filigree, while Eddard accuses Shulash of attacking every problem with a hammer.

    Eddard's style is quite different, offering criticism in a way that makes the recipient feel better than if the critique had not been delivered at all. He believes that you must work with the metal and convince it to take shape for you... this is where Bryony gets the second half of her insight. (After all, both methods work. It's all a matter of how they are applied.)

    Devan is skilled in both types of smithwork, and becomes the focus of a competition between the two, since his testing marks him only as a smith, and does not specify the type.

  • Jorik - A professional scholar who instructs in language and history for Bryony's class, and becomes her private tutor. It is through him that Bryony (and the reader) learn much about the structure of this society. At first, he resents having to tutor Bryony, but he discovers that she has a keen mind and wants to learn, and sort of views her as a blank slate. He has a realist's view of their society, and speaks more openly with her than he might normally, once their relationship is established.

    He is a short man, with deep black hair an intense eyes, with a closely cropped beard and mustache. He encourages critical thinking only among those he feels capable of handling it, and for the others, demands immediate recall of facts. He has a tendency to pinpoint Bryony's weaknesses and seize upon them, not out of cruelty (as she first thinks) but because that is where his efforts and hers would be best directed.

    Once Bryony takes power, he becomes her advisor, and confronts her about her true aims. By that point, he's in his 60s, and not in a position to fight, but he has the historian's love for great events, and takes her side so that he can chronicle the career of someone who he feels will change the face of the world, or will die in the attempt. Either way, hers is a story worth witnessing.

  • Kalocia - Blonde and popular, at the risk of perpetuating a stereotype. Of course, in this culture to be blonde is to have a feature usually associated with the highborn, so it is regarded highly among the middling. Kalocia has already tested and is a future attendee (though not Mistress), and as a result occupies the natural upper echelon of society.

    Before Bryony came, she was top dog, and privately hinted that her father was highborn--which he may well have been. Bryony is a threat to her, so she doesn't need any urging to make Bryony's life hell. Later on, Emecia becomes a full adherent of Gessica's faction, but she is the weak link, and through her, Bryony finds the key to dethroning Gessica.

  • Emecia - Almost as tall as Kalocia. Almost as pretty. In Kalocia's absense, she would have been the superlative, but always seems to come after her in the regard of others. Instead of holding this against Kalocia, though, she instead stays as close to her as possible, realizing (in some way) that she'll get more regard in Kalocia's company than in competition with her.

  • Asry - Emecia's roommate, and the least attractive of the three. Her heart isn't in the torture that the others give out, but she's insecure enough (at first) that she'll take whatever dregs of regard fall to her from her association with the others. Finally stands up to Kalocia after Bryony's testing. Later a member of Bryony's inner circle.

  • Sili - One of the other girls in Bryony and Yancy's suite. Sili is short and stays that way, with short, light brown hair. She has a fascination with the highborn, and is always up on the gossip. Although as she gains experience that adoration fades, she still maintains the in-depth knowledge of the political currents, and becomes a valuable asset in Bryony's inner circle.

  • Zeoly - Quiet and a little dark in outlook. She has the biggest grudge against the highborn (until the rape attempt) because of the way she and her parents were treated by their original patrons. Her father was brought low. The subject of the highborn is the only disagreement between she and Sili; otherwise, they are great friends. Zeoly keeps her past secret, and looks fondly on Sili's naivete, not wanting to burst her happy bubble.

  • Tynofast - One of the highborn, fairly low by birth but of good position. He is a bachelor, in his thirties, with a hooked nose and short, blond hair. His manner is very brusque, but he appreciates talent. He doesn't much seem to like anybody, but he is devoted to the patroness (his employer), and to furthering her interests.
Sadly, that's all I have time for now. Still, here's something encouraging. Both yesterday and today I wrote 2,000+ words, just in the morning before work. At this rate, I just might manage to do this.

Today's Total: 0 words
Progress to Date: 0 / 0 words (0%)
Total Progress: 0 / 52,347 words (0%)

29 September 2008

Upcoming Scenes

Confession: I spent ten minutes this morning trying to take my car key out of the ignition and freaking out because it wouldn't come out, nor would the car start. Then I realized that instead of putting it in park, I had put it in reverse. This wouldn't be so bad if I hadn't done the exact same thing once before, on the night of my high school prom. Of course, that time I didn't figure it out, and woke up my date's parents and got my parents down there to help me. That still ranks as the #3 most embarrassing moment of my life.

Spoiler alert! This is going to be awesome.

Okay, the real spoilers are below, but I am super-psyched about writing this story. Before I get into the real spoiler territory, I'm going to talk about how the blog will be changing over the course of this experiment.

First, I'm going to put the confession on hiatus. It's a great self-analysis tool, but it's often been a bit of a stumbling block in starting a new blog post, and I don't want anything to stand in my way, even something minor.

Instead, I'm going to get in the groove by doing a little commentary on what I've done up until that point, and where the stuff to follow fits into the whole picture. This won't be too long, and it won't be included in my word counts for the day. But hopefully it will give you some insight into what I'm thinking as I write.

I would appreciate any comments you have, and I'll read and reply to every one. Given that this is a rough draft, though, don't worry so much about typos and the occasional grammar error. There's no point in polishing up the language until later drafts, once the big elements of the story are already set in place. You don't glaze your pottery before you're finished molding it. Of course, if there's a metaphor or phrase that jumps out at you as particularly good or bad, by all means let me know.

Behind the scenes, I will be copying each day's output into a Microsoft Word file. This will give me the master word count as I go along. The idea of a target of 52,347 words is still there, and what's more, to do that writing over the course of 31 days. That's an average of 1,689 words per day, which I think is more than reasonable. I will get rid of the publication status meter at the bottom and establish a new one.

Today's Total: x,xxx words
Progress to Date: x,xxx / xx,xxx words (xx.x%)
Total Progress: x,xxx / xx,xxx words (xx.x%)

That should be pretty much self explanatory. You'll see what I did today, how that compares to where I should be, and what percentage of the whole I've completed. I want to keep the Progress to Date over 100%, which means that I'm ahead of schedule. Anything less than 100% means I'm behind.

Okay, time for the real Spoiler Alert. I don't know if reading what's below would ruin the story for you or not. You're the best judge of that. Understand that these notes are mostly for myself, so if they seem to refer to people or events that you haven't heard of, it's because I haven't blogged about them yet. Regardless, if you don't want to know the resolution to certain plot lines, read no further. (I also reserve the right to change the outcome to suit my own nefarious purposes.)

As I mentioned yesterday, I brainstormed a few dozen scenes that I thought were particularly vivid or memorable. A couple of them would be great setpieces in the movie in my head. Here's what I've got so far.

  • Bryony awakens and meets Elma
  • Bryony meets Mistress Gessica
  • Her initial branding
  • Meeting her roommate(s)
  • A tour of the market
  • Her first day in class, when she learns she doesn't know how to read
  • Meeting her private tutor
  • Record keeping duty, when she learns that there may be records of how she came to the market, which would reveal her family and past
  • Another classroom scene in which it's determine that she's actually a lot brighter than everyone is giving her credit for
  • A scene in which she is mercilessly ridiculed and picked on for her supposed high birth, and Devan comes to her rescue
  • An attempt at various crafts. She's terrible at most, but does pretty well at the needlecrafts. Likes that idea, because she would get to spend more time with Elma.
  • Late night with the attendees, who are kind of the top dogs on campus. Learns about the testing, usually done after the age of fourteen or so. (Bryony doesn't know her age.)
  • Adventure in the city on a free day, with her best friends Devan and Yancy. First time she sees the lowborn. Realizes how small and defenseless she is.
Gonna take a break here and mention some other characters: Shulash, the blacksmith, and his twin brother Eddard, the gold and silver smith. Jorik, her history and language instructor (and private tutor.) Emecia, chief among the bullies who torment her, along with Kalocia and Asry. (Asry at least has the grace to feel bad about it, and eventually takes her side.) Sili and Zeoly, her other two roommates. Tynofast, her eventual magic tutor.

And a cultural note--middlings are allowed only one name, as family ties are not really encouraged per se. At the age of ten, children are "placed," and only see their families rarely thereafter. The family unit is the market itself.

The lowborn also only have one name, but there are a limited number of names that are allowed to be given, always one syllable. No middling, and certainly no highborn, would ever have one of these names. To distinguish each other, the lowborn take on nicknames based on personality, occupation, a distinguishing physical feature, or something of that nature. They are also given a number, and it is by the combination of name and and number that their middling supervisors tell them apart. Among the other lowborn, they are usally simply called by their nickname, or given name and nickname, e.g., Van Sunburst, Kern Lockleg, Ginger Heb, etc.

Okay, back to the scenes.

  • Called in the middle of the night to test. It's too early, but she's pissed off Gessica, who wants to make sure that she's put in a lowly position. Instead, she's put at the top.
  • More intense training. Jorik becomes her confidant in a way; philosopher, she admits to him about her memory. He also explains about magic.
  • She finds herself somehow exalted in the eyes of most of her fellow students, but Emecia hates her even more. Asry stands up to her.
  • Boys like her now too.
  • Personal shopping day--must be pleasing to the highborn who see her. Passes all Gessica's tests.
  • Meets the patroness, who takes a liking to her. (Bryony didn't know who she was, treats her with resepect but not fawning, which is unusual in someone so young. This happens on the first day of her attendance, when Gessica had stepped away for a moment. Patroness like making these little surprise visits. She realizes that Gessica hates her, and puts her under the personal tutelage of Merona, another of the senior attendees.
  • Bryony works for Merona.
  • A visit to an estate with Merona. Meets Illiantine Kindlebry and her brother, Havenstar.
  • Patroness "requests" an interview. Feeling her out. On the way out, she meets Tynofast.
  • Some kind of intermarket reception, where Merona and Bryony meet representatives from the other markets. A conference of some sort, allocation of raw materials, treaties, etc.
  • Another meeting with Tynofast, at which point her magical ability becomes apparent.
  • Training with Tynofast.
  • Havenstar tries to rape her, Daven stops him, and is brought low. (Arranged by Gessica)
  • Appeal to patroness, who turns her down.
  • At some point, discovers Gessica's plot.
So here I've established the plotlines for the story. Bryony starts as a lost soul who has no idea where she is, and comes to a position of potential authority, but also greater danger. She wants to find out who she is and where she's from. The incident with Havenstar makes her want to punish him, get revenge on Gessica, and bring down the whole structure of society.

She learns from Jorik about the sea wall, and how things weren't always this way. (The word outside is the first and only thing that nearly triggers her buried memories.)

The scenes above make up the first third of the novel, give or take. Her first goal is to track down Daven. She arranges to meet him several times, and is dismayed at the change in him. She also begins to scheme to bring down Gessica, but is clever enough to do so in a way that has no negative consequences for her Patroness. The Patroness knows what she is doing and approves, so long as it doesn't reflect on her. She only wants the cleverest people in charge, because they can do the most for her.

Bryony manages to seize power around the age of eighteen. She illicitly uses her magic to alter the testing equipment to help her recruit those helpful to her cause. Through Daven, she learns that there is an underground movement among the lowborn who also want to change society, and that he has become a part of it. She cleverly manages to get them aid.

She finally manages to track down her family and has a meeting with them, although done in such a way that they don't realize it... or so she thinks. Her father appears most troubled, and he hangs back. She reveals herself and challenges him, and he says that they didn't sell her to the market, that she had died, and her body vanished before the funeral. She doesn't believe him.

She arranges a leave of absence, and during that time meets with the lowborn. While among them, she learns that their minds are clouded, and reverses it for those she can. She also demonstrates that she can remove their scars.

Bryony understands that the highborn will active try to stop change, and that most of the middling have no reason to desire change. It must come from the lowborn. But the biggest problem is that the empire is too powerful and they have nowhere to go.

Except, of course, for the outside. Bryony is more and more convince that there is something outside the sea wall. She takes a tour of the islands supposedly looking for raw materials, but hires a sailor to take her to the sea wall. Others have tried to use magic to pierce it before, but she senses something that they had not, something generating the sea wall from within the empire. It's at the imperial palace, of course.

During this time, she has started to remember bits and pieces of what is outside the seawall, and suddenly remembers her purpose, which is to bring it down from the inside. She still can't remember who she was before, just that she had come the only way it was possible to come, since it was otherwise impenetrable. Bringing down the sea wall will open up other lands, and put the empire in contact with other cultures. it's the only way to thoroughly change things for the better.

Meanwhile, someone is working to bring her down as Mistress, or else the Patroness has learned about her duplicity and intends to bring her down herself. Bryony and a cadre of people that she has taught magic, plus her friends among the lowborn, burst out of her chambers in a triumphant, unstoppable march. She makes it to the palace and meets little resistance, since the majority of the troops are lowborn, and she has managed to infilitrate many of them. She makes it to the palace and learns that the emperor is aware of the sea wall, and doesn't want to let her bring it down.

She fights him, defeats him, and brings it down. They manage to flee from the city.

The book ends with her on one of the outlying islands. Those who survived the final battle are with her, and she has been set up as a ruler. She alone still bears the tattoos. As the novel ends, a ship is sighted on the horizon, sailing from where the seawall used to be.

Publication Status:
  • Submitted: 6
  • Accepted: 1
  • Rejected: 2
  • Pending: 3

28 September 2008

A Spoiler Free Post

Confession: I wonder if my attention span has been negatively affected by the internet?

First off, if you look below you'll see I added "Cat's Eye and Agate" to my submitted list. In other news, I've started to listen to the audiobook of Jonathan Strange and Mr. Norrell again. It's one of my top five favorite books, and this time of year, when summer is fading to autumn, has always struck me as the perfect weather for it.

So Wednesday I start the new novel, but there's a lot of work to be done before that starts. Today I did some brainstorming on scenes and plots. Usually I'm much more regimented in the way I prepare my outlines, but I'm trying something different here. I've been trying to develop intact scenes first without regard to plot.

What I mean by that is this: if I'm inspired by a location, an event, a meeting, or whatever, I write that down as a scene. I don't worry about where it's going to go or what it's going to accomplish, although usually the setting or characters restrict its placement in the story to some extent. Then I see what patterns start to emerge and draw the plot from that.

As the title of this post indicates, I'm not going to go into detail on that today. I've given you the scenario already of the novel, a bit about the culture and magic system and motivations of the main character, but that's not the same as a scene-by-scene breakdown or revelation of the plot. Oh, I'm going to post a lot of that stuff tomorrow and Tuesday, but for anyone who wants to be surprised as the story unfolds, you can safely read this post and anything from October 1st onward, and nothing else.

Anyway, back to what I was saying. I think the scenes that I'm coming up with will be vivid and interesting scenes in isolation, and the "finished" novel may have them in a different order than the order I write them in. As I get a better idea of all the plots and subplots of the novel, I may go back and add extra information or characterization to set up and pay off various threads. But all that will be done within the context of scenes that are a priori vivid and interesting.

This process has also helped me to develop characters I might not otherwise have thought of, characters who I believe will play a large part in the finished story. I've also come to better understand the motivation of several characters that I had not fully grasped before.

I can't promise anyone reading this that the rough draft of this story, as I write it, will make complete sense. It's almost inevitable that as I write, I will decide that certain things need to be set up earlier in the narrative, or be changed entirely.

When this happens, I will do one of two things. If I need to write a new scene entirely, I will write it and indicate where in the story it should go, so if you feel like it, you can go back and put it into the context of the whole story. If it's an alteration, I will indicate the section I'm talking about, and tell you in italics what the revised version will have, then continue on with the story as if I had already made that change.

Please keep in mind that I'll be making this up as I go along. Yes, I have a plan, and I have an ending I want to get to, so don't think I'm leading you on a wild goose chase. All the same, there may be lots of digressions that wouldn't appear in a polished novel. Either way, I hope you enjoy the ride.


Publication Status:
  • Submitted: 6
  • Accepted: 1
  • Rejected: 2
  • Pending: 3

27 September 2008

Cat's Eye and Agate

Confession: When I get a headache, I am far too ready to take Advil for it.

Today was the Fall 2008 24 Hour Short Story Contest. Here's the topic:

The cast iron pot was blackened and warped, but had provided years of delicious concoctions. Movement caught her eye through the cracked window. She turned her head, but saw only red, orange, yellow and brown leaves racing by in the fierce wind. She shivered as cold air leaked through the window's cracks, and leaned down to stoke the fire.

Squinting at her recipe book, she scratched the mole on her nose. The fourth ingredient was always the hardest to find...

Well, I've already written a story on Hansel and Gretel for this contest, and it didn't win, so that idea is out. And you know that half the stories are going to be Wicked Witch related. "Oh my God! The fourth ingredient is children. CHILDREN!!!!!"

So I wanted to avoid that. But at the same time, there's no denying that the main character is a witch-type figure. C'mon, iron pot, mysterious ingredients, rickety old cottage. She even has a mole! So at the same time, it would sort of go against the spirit of the contest not to pay homage to that stereotype in some way.

I knew that I needed to have a second person in my story, and I thought a young boy would fit the bill. Something would have to bring him to her door. No kid wants to go to the witch's cottage, even if she's not a witch, so it would have to be something close to his heart.

I chose marbles, since they could be used as a weapon (to break windows, perhaps), and because they would be something dear to their owner. Wait... why would they be used as a weapon if he likes them so much? Better throw in an older brother, would could use the occasion to torment the old woman and his sibling at the same time. So the younger boy goes after his marbles and meets the old lady.

Now back to her. What is she doing? She's making something, but what? Well, it was either mundane or magical. Given the choice, I'd rather have magical. Okay, fine. What's the most counterintuitive choice in this situation? Nothing evil... how about medicine?

For whom? Well, she has a sick husband. Now I'm setting the stereotype on its ear. Sure, she's a witch, but she's a good witch. She doesn't live alone, she's caring for someone.

At this point, I wanted to make sure I didn't accidentally plagiarize Terry Pratchett, whose many Discworld books on witches are among my favorites. I had to go a different direction.

So the boy comes in, and he's terrified. Gradually, he understands that this woman isn't a witch, that she's just a normal old woman, like his own grandmother, and he treats her with respect. Respect... or pity? Probably the latter would be easier to achieve, because in her old age, she probably would look kind of pitiful.

Well, there's my story. But it still lacks an ending. The witch needs to get her last ingredient. What could it be? What about something intangible, like the pity of a child? This is magic, after all. Why couldn't that be part of the recipe?

Hmmmm... but why would she be making it if she didn't know the boy was coming? I could either give her foresight to see that he was coming, or have the medicine be less effective, but still somewhat useful, without that ingredient. Better to go with the latter, there are fewer complications.

So when the boy comes around, she somehow uses that emotion in her medicine and gives it to her husband. But we save the reveal until the very end, so the reader is convinced, right along with the boy, that she's nothing special.

That was my thought process for the story. The first draft came in at 916 words, and with a word limit of 850, I had to do some trimming. Luckily I was able to do to the cuts in the language and not lose anything of substance. And start to finish, it took me only two hours. Not bad. I know I say it a lot, but I should do this more often.

I really work best to a deadline. That's why the NaNoWriMo, even my own fake version, will spur me on better than anything else.


Publication Status:
  • Submitted: 5
  • Accepted: 1
  • Rejected: 2
  • Pending: 2

26 September 2008

More Details

Confession: I'm starting to get excited about writing again. It's about damn time.

I'm going to go into a bit more detail on each of the three major castes, since a large part of the story involves the narrator, who is given the name Bryony (as she can't remember her own) learning about this culture, which is totally alien to her, and eventually deciding to fight against it.

To most of the other two castes, the highborn are almost a separate species. Imagine if Tolkien-style elves were real--the stereotype is that they are are beautiful, graceful beyond belief, wise, and powerful.

Partly, this is deserved. You see, there is magic in this world, mostly centered around the creation of magical objects. Before an object can be imbued with magical power, it must first be "perfected"--its essence is summoned, and that essence replaces the object from which it was summoned. This is extremely difficult to do, and if done incorrectly, the object is destroyed, and the spellcaster can be injured.

For example, a sword that has been perfected can never be scratched, and will never lose its sharpness. It will appear to be the pinnacle of perfect for swords. However, such a sword will have a weakness unlike any other sword--it can be blocked by magic, 100% of the time. Magic in this world operates on the essence of things. A normal, unperfected sword does have some part of the essence of swords in it, and magic will somewhat resist such a blade, but not perfectly. But a perfected weapon is the essence of that weapon, and can be completely blocked by a spell, of sufficient strength.

I say all of that to say this: some of the magical devices that are created in this culture are designed to draw out the essence of people. There is a lot of research into the idea of "perfecting" the individual, but it is dangerous, and most of such work focuses on certain aspects, rather than the whole.

The use of magic is one of the few kinds of "work" that is permitted of the highborn. Manual labor is considered demeaning, of course, and craftwork of any type is tolerated as a hobby. Even among these hobbies, some have more prestige than others. Needlecrafts are considered good pasttimes for women, carving or painting okay for men. But it would be an insult to offer to buy any such work, becasue that would imply they were a middling craftsman.

Much of the time of the highborn is occupied with society events, which involve hunting, gambling, dancing, sightseeing, and above all, gossiping. Shopping is also a very popular occupation. Of course, no highborn would ever own a market themselves. For that, they must go to the middling.

There are variations within the highborn caste, of course. In fact, these are scrupulously observed, and there is mobility to a certain extent. There is nobility-by-birth and nobility-by-position. The former can be improved by marriage, and the latter by virtue of cleverness--or who you know. The "perfect" marriage among the highborn is between a man with a high position and a woman with high birth.

As a result, a family with low nobility-by-birth hopes most for sons, for in them lie the best hope of advancement of the family. Women can and do hold positions, but only in certain, high-circumscribed areas of society. For example, a woman can become a patroness--the highborn in charge of a market, farm, or other middling organization--but cannot hold positions in government.

If a family with low nobility-by-birth has a daughter that they cannot support, she can be given over, in secret, to the noble middling. Such a move would occasion much gossip, but is nevertheless seen as a wise move by a family struggling to maintain its position in the face of poverty or other troubles. Bryony comes to believe that she is such a one, and tries to locate her family to learn about her past.

Highborn families with high nobility-by-birth welcome sons and daughters equally. A daughter can attract men with high nobility-by-position to the family; the ties of obligation bind them to the family, and result in a net increase of power and authority to the family. A son, of course, can usually gain a good position through family connections, which makes him doubly attractive as a marriage prospect.

The empire consists of the mainland and several outlying islands of varying sizes. "The city" is the imperial capital and the surrounding towns and villages. "The country" refers to the wide belt of land encircling the city, where most of the highborn live in the off-season, and control large estates. "The provinces" refer to the more distant lands which do not fall under the direct rule of the emperor, but are instead ruled by the provincial kings. These too are highborn, originally appointed by the emperor, but in ages since they have established varying systems of powerf for themselves, and are considered royalty as opposed to appointees. Technically the islands are also provinces, but in practice they are simply called "the islands." These are the most recent acquisitions of the empire, and power has not been fully consolidated here. There is still resistance to imperial control in these areas, and the majority of military action takes place in and among the islands. As a result, naval power is very important, and piracy is common.

About two days sail from the outermost islands, a band of storms encircles the land. This is called the Sea Wall, since the constant driving rains give the appearance of a wall. No one has successfully sailed through it and returned, although there are stories about what lies beyond. About sixty years before, a group of mariners sailed all the way around the Sea Wall, proving that the lands within were cut off. The official belief is that the lands within are all the world that there is.

The next segment of the population are the middling. If the highborn are less than 1% of the population, the middling make up the next 30-35%. In the eyes of the highborn, they serve several purposes. First, they are a buffer between the highborn and the lowborn; among the highborn, it is considered bad luck to even see one of the lowborn, and women have been known to faint upon witnessing their scarred visages.

Second, they process raw goods into a form usable by the highborn... and for themselves. The middling are divided into three main subcastes, depending on who they serve. The highest of these are the noble middling, usually the most skilled or beautiful of the midding. These work as servants in the homes of the highborn, as cooks and maids and personal attendants. They control the finances of the highborn estates and essentially perform all the tasks that would be demeaning for the highborn themselves. They take care of the details, so the highborn don't have to.

They also create the high quality goods for purchase by the highborn. This is done in areas called "markets." A market, in this sense, is really an estate of its own, located either within the city or nearby. These markets have areas that are absolutely sumptuous, designed to appeal to the sensibilities of the highborn. Only the most beautiful and graceful of the noble middling are allowed to attend upon the highborn.

There are seven of these noble markets, and they compete fiercely for the patronage of the highborn. Each has its own Patroness who is one of the highborn, and a given highborn's custom at a market has just as much to do with his or her relationship with the Patroness as to the quality of the goods within.

As a result, the noble middling who attend the highborn are often pawns in the game of politics, and may be requested to offer perfect service or subtle insult, as the situation requires. Because such behavior can be immensely useful, a good noble middling attendee is very, very valuable.

Behind the scenes, the market is much less elegant. There is a definite pecking order within the market, with those who deal directly with the highborn at the top. The market in many ways is a self-contained world, with its own economy, living space, work areas, opportunities for promotion, and all the services to be found in a large village. Some go their entire lives only rarely leaving it.

Magic is not usually taught to the middling, and if so, only to the noble middling. To learn magic, a middling must have a Patron or Patroness who leads their instruction, and who takes responsibility for anything he or she might do with that magic. Not many of the highborn are willing to take on that responbility, and magic is not taught lightly. However, there can be rewards, as a talented noble middling can dramatically increase the wealth and prestige of their patron or patroness, since they legally own any magic produced by their apprentice. It is considered treason for a middling to teach magic to anyone, or to practice magic without the consent of a patron.

The largest segment of the middling population exists to serve itself. Their goods are of medium quality and medium price, and are purchased by mostly themselves, and also to some extend the lower noble middling. They aspire to reach the noble middling, and there is some mobility, mostly due to their own talents, but also according to the influence of their patrons.

All high governmental positions are held by highborn, but in the villages, the day-to-day work is done by the middling. The noble middling are the objects of their aspiration; the highborn the object of their adoration. The lower you go in the middling, the more you find a reverence for the highborn, a reverence that the highborn go to great lengths to instill and maintain. Likewise, there is hatred and fear for the lowborn.

The lowest caste of the middling are those who must deal with the lowborn. The lowborn make up the largest segment of the population, 65-70%, and their movements are highly controlled. They are little more than slaves in one sense, in that they have no control over their own occupation or movements. They have their own villages, tightly controlled by higher ranking lowborn and low ranking middlings.

There is a very military organization to their lives, something instilled in them from birth. Their education is strictly controlled, and they are given a complex hierarchy of positions to give the illusion of mobility and advancement. In reality, they cannot aspire to advance beyond the lowborn. There is deep resentment between the lowborn and the middling; the highborn are so far outside of their scope that they're rarely considered.

They are given entertainments to distract them from their existence, in the form of sport and theater. Neither is free--after all, something that is free is perceived as worthless. But the prices are kept low enough so that pretty much anyone can go, and as a result both are very popular.

A middling who commits a bad enough crime is "brought low," scarred just like the lowborn, and set in a work camp at the very bottom of the social hierarchy. A lot of the resentment is taken out on these individuals. Many of the plots of the plays have to do with bad middlings being brought low by good ones, with the help of good lowborn.

Why does this structure hold? The lowborn with the greatest resentment against the system are those with the least power, and therefore, the least opportunity to do anything about it. As they rise through the ranks of the lowborn and actually gain power, they have less desire to change the system because the result would be the reduction in their own power. Those at the top of the lowborn have a high level of control, and actually have great means than the lowest of the middling.

In other words, for a high level low-born, there would actually be a step down in power and influence to become one of the middling. So why would they want to become one? In this way, the caste system is maintained.

Wow, I've written for over an hour now, and suddenly I find I have to go to work. More later, perhaps even tonight.

Publication Status:
  • Submitted: 5
  • Accepted: 1
  • Rejected: 2
  • Pending: 2

25 September 2008

Gearing Up

Confession: I spend more time thinking about my own motivation than I do acting on it.

Hey, check it out! I got rid of my header information. It will come back eventually, but it's been so long since it's seen an update, that it's no longer doing what it should, which is motivating me to read, write, and edit. And there are more important things afoot.

If I'm going to start a major writing project in just a few days, I need to figure some things out. First of all, what will my idea be? There's no use being clever and hiding the details on my blog if I'm going to be writing the story here.

Here's what I have so far. The main character is a girl, who at the beginning of the story is 12-14 years old. The exact age may change as I go on, but as the story begins, she doesn't even know her age. In fact, she doesn't know her name. She doesn't even recognize her image in the mirror.

She finds herself in a strange society with a rigid caste system. The highborn control every aspect of the culture, but make up less than a percent of the population. Below them are the middlings, who bear facial tattoos that indicate their assigned positions. Education is strictly controlled in this caste. The middlings speak a different language than the highborn in their daily lives, and this serves as a barrier as well. They are the servants and craftsmen. The highborn call them "the mundane" as a type of insult.

At the bottom is a class I haven't named yet. Their faces are scarred at birth, and they are given other scars later when their jobs are assigned. They are the labor force, and their language is different from either of the other classes. Their education is even more strictly controlled.

There is no mobility--except for down. As the narrator awakes, she finds that she has been sold by an anonymous highborn family to a middling market, one favored by the highborn for quality goods and services.

The mistress of that market is threatened by her, even though she has no clue where she is or what the rules around her are. The first part of the story involves this girl getting her bearings, making friends and enemies, and finally enduring a trial that is supposed to decide her future path.

Blogger is about to go down for an outage, so I'll stop for now and post more tomorrow. But until then, I need to assign a temporary title to this story. So in the tradition of Dairhenien's Library, I have decided to call this story Bryony's Market. No doubt that will change, but it's good enough for now.

Publication Status:
  • Submitted: 5
  • Accepted: 1
  • Rejected: 2
  • Pending: 2

24 September 2008

How the hell am I going to do this?

Confession: There's a sucker born every minute. At 7:20pm on April 29th, 1978, that sucker was me.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,455 words (Estimated completion 14%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%
Okay, so if I'm going to do this, I need a plan. The problem with October is that I'm gone on a business trip for at least three or four days of it. Since I'm making up the rules, I may just declare those free days and postpone the end until November 4th or so. That would be fair, no?

So, how much can I write per day? This blog alone has accounted for 16,000+ words in July and 22,000+ in August. Discounting the status stuff that I copy every day, that's still a good 20,000 words I can do without even trying. I guess if I tried, I could crank out twice that, or 2.5 times that. And Bob's your uncle, I've done it.

Now the next question is how? Instead of writing about writing in this blog, for the month of October, I'm going to do my writing right here in this window. And I'll keep track of what I write every day and put the tally for everyone to see.

I even already have my story idea. It's been floating in the back of my head for years, but only emerged as a real story idea a week or so ago. I know how it starts and enough following scenes to get me going. I won't worry about writing it chronologically.

And--here's the thing--if I get stuck, I switch to something else. The important thing is that I keep writing. Every day.

Who knows? Maybe it'll become a habit, and I'll do NaNoWriMo after all.

Publication Status:
  • Submitted: 5
  • Accepted: 1
  • Rejected: 2
  • Pending: 2

23 September 2008

Digression

Confession: A daily confession would be a lot more interesting if I had done more.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,455 words (Estimated completion 14%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%
I was thinking about Don Quixote today--the novel, not the character--and something struck me about the structure that I had never really considered before.

By today's standards, it's a terribly constructed novel. Every so often, a character within the main narrative will stop and take several chapters to tell a different story, with completely unrelated characters. This story will only occasionally have any bearing on the main narrative, and where it does, the same could have been accomplished much more succinctly.

And it's not just 400 year old stories that have that feature. Look at Moby Dick, which takes a break mid-novel to discuss the minutiae of daily whaling life. (And gets it wrong, an irony I love.) Oh, sure, some would say that the digressions are an exploration of Romantic themes that couldn't be explored in the context of the main novel. I call it sloppy writing.

I can think of one modern author who has done the same thing and gotten away with it. That's Stephen King, whose Dark Tower series is a great and vast masterpiece, but has lots of pointless digressions of just the sort I'm talking about, especially in the later books. He was attempting to tie his entire oeuvre together with the series, and may even have succeeded, but the result is a series which cannot really be appreciated in isolation either.

So, here's my question--is digression a bad thing? There's no clear cut answer, of course, but I'm going to weight my answer about 75% to the yes side. I really think it is a sign of sloppy writing, because the careful writer can explore whatever themes he wants within the main narrative, or within a relevant subplot. If it doesn't fit, then for the love of all that is holy, cut it out! Give it its own book, or short story, where the exploration of that theme can feature prominently. By leaving the main plot, all you're accomplishing is making the reader resent the departure from the elements that attracted them in the first place. What's the point of that?

Publication Status:
  • Submitted: 5
  • Accepted: 1
  • Rejected: 2
  • Pending: 2

22 September 2008

In defense of The Wheel of Time

Confession: I think what bothers me the most about life is the impermanence. But at other times, I can't help but wonder if that impermanence is really a blessing.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,455 words (Estimated completion 14%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%
I've heard lots of Bad Stuff about The Wheel of Time, by the late Robert Jordan. How he draws out his plots beyond human endurance, how all his characters are the same, how his story is so fragmented that it's impossible to follow, how it's never going to end.

And you know, there's some justice to all of those points. I'm going to address them now, one by one.

1) The plots are drawn out.

In some cases, yes. In others, I wish he would spend more time. But let's take a look at some of the recent plotlines that have drawn the most criticism. Perrin's attempted rescue of Faile took three books to accomplish. Four, if you count the end of the one in which she was captured. In each of these books, the Perrin plotline took, by my estimate, about a 10th of the book. So we're looking at, what, 150 - 200 pages of that plot? For him to lead a daring chase cross country, catch up with the kidnappers, and develop a plan? Meanwhile, that also includes the scenes from Faile's point of view, where we see her hatching her own plans to escape. Novels have been built on less.

I think the main problem is that we, the readers, had to wait seven years to read these events. Well sure, when you look at it that way, of course it took too long. But will it really seem that tedious on a re-read, with the entire series in front of you? The same applies to Elayne's quest for the throne, which has taken the same three books to accomplish.

2) All the characters are the same

The men are stupid. The women are bitchy. Okay, you have a point.

Except, not all the men are stupid. Lan isn't. Thom isn't. Rand has his moments, but he's the hero, so you expect it. But aside from his stubborness in certain areas, he grows out of it. So do Mat and Perrin. In fact, the majority of the male characters have stupid moments, but are not in general stupid characters.

Likewise, all of the women have bitchy moments. But, with the possible exception of Nynaeve, none are bitchy by nature. And if only one woman in the entire world is bitchy by nature, that's a rare world indeed.

What Jordan has done is write characters who have flaws. He writes strong men and strong women very well. His weakness is that he doesn't do a good job of writing weak characters (can you name one?), and as a result, you have a situation where strength battles strength. This makes for good drama, but less realistic plots. Still, would weak characters really have that much of a part to play in the great drama that has unfolded?

3) The story is too fragmented to follow.

I've never had a problem with it, but I've also read the story multiple times. Still, this is not a series for the casual reader. It demands, and rewards, dedication and problem solving and critical thinking and analysis. That's why, with 2-3 years between books, fans have always found something new to talk about. These books are dense, and that's part of their charm.

Still, early on the narrative is very clear, and by the time of the later books (7 and on, I would say) any reader who is going to be hooked already is.

4) It's never going to end.

I can see where you might think that. The original plan was for a trilogy. Three books then became six, and six became nine. Now the series stands at eleven plus a prequel, and one more to go.

That's right, although Jordan has passed on, he left copious notes, some completed chapters, and a recorded discussion of the whole of his conclusion. This is now being written by an author who, like me, grew up with these stories and respects the task in front of him. The novel is being edited by Jordan's wife, who edited all the others and will be sure that the tone matches the previous volumes. In other words, we're getting the next best thing to the book as written by Jordan himself. And that will be it. The saga will be over. We'll know what happens.

Satisfied now?

I've rather enjoyed the fact that the series was this long. It's marvelous to read each new installment and know that you haven't said farewell to these characters forever. After reading the final volume, I'll no longer have that solace.

The point of all this: if you haven't tried Jordan before, read The Eye of the World. If you don't like it, don't read further; if you do, keep going. By the time you get caught up, there will be an ending waiting for you.

Publication Status:
  • Submitted: 5
  • Accepted: 1
  • Rejected: 2
  • Pending: 2

21 September 2008

Not Writers Block

Confession: My life is in a holding pattern at the moment.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,455 words (Estimated completion 14%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%

Still no word from the Tea Lady. I no longer expect such a call.

I really have nothing to say today. I feel completely empty of ideas and motivation. I wouldn't call it writers' block; that's when you're trying to write, and there's something in between you and the words. Right now, I feel like the whole word-hoard (to take a line from Beowulf) is empty.

I need to shake things up somehow, but I'm not sure what or how. I took a couple of nice walks today that didn't become Rambles because no plots gripped my imagination.

What should I do?

Publication Status:
  • Submitted: 5
  • Accepted: 1
  • Rejected: 2
  • Pending: 2

20 September 2008

A Tour of My Bookshelves, Part 7 of 33

Confession: I need to do dishes, clean my room, and do all the chores I've been putting off for what feels like months.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,455 words (Estimated completion 14%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%

Still no word from the Tea Lady. I'll send another email on Monday.

Before I start, let's not forget:

The previous entries in this series:
The first real shelf in the Case of Attractive Books is pretty much just more of the same. Please try to ignore the motorcycling and surfing Tiki-dudes. They have no bearing on anything.

On the left, we start with several of the works of Pearl S. Buck. Perhaps my confession should have been that the only book of hers I've read is The Good Earth. Of course, not many people know that she's written anything else, so I suppose I shouldn't feel too bad.

Following that, we have The Age of Chivalry. I actually own The Age of Fable as well, but it's been on loan to my boss for about a year now. I should probably ask for that back.

I haven't read the next book either. The Secret Garden. Of course, I was never a twelve-year-old girl, so I guess that can be excused.

Although I haven't finished the complete works of Lewis Carroll, I've read enough to feel confident that Alice in Wonderland and its sequel are really the best things he wrote. Sometimes, a certain book is famous because it fit the public taste, but there's dozens of other, often better works hiding in the wings. Not so with Mr. Carroll, at least in my opinion.

The book that follows is a worthy tome, though. Don Quixote has always been one of my favorites, and I've read it at least three times, although I don't know if I've read this particular copy. One of my favorite memories is reading it while drinking hot chocolate and eating animal crackers, while sitting on the floor of my room.

Chaucer... what can I say about him that hasn't already been said? I keep meaning to push all the way through The Canterbury Tales, but have never quite managed. It always makes me feel bad that they were never finished.

That next book whose title you can't read is The Moonstone by Wilkie Collins. Look it up--it's generally thought to be the first real mystery novel. Another I haven't read, but now that I think of it, perhaps that will be my next.

A few more classics follow. Cooper and Crane are American masters, and if you haven't read them, you should. Robinson Crusoe is also worth reading. It's one of those rare stories that everyone knows about but no one has actually read.

Finally, I come to Dicken's Corner. Once, I had the opportunity to get a complete set of Dickens, but wasn't willing to spend the money. I regret it now. Out of these, the only one I haven't read is The Mystery of Edwin Drood. The one blocked out by the surfer tiki's hair is Nicholas Nickelby, in case you're wondering.

What's coming up next? Well, zoom in on the picture if you really want to know; you can see the top of the next shelf too.

Publication Status:
  • Submitted: 5
  • Accepted: 1
  • Rejected: 2
  • Pending: 2

19 September 2008

What about non-fiction?

Confession: You know the feeling of something really cool slipping through your fingers? Yeah.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,455 words (Estimated completion 14%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%

Still no word from the Tea lady. I'm wondering if that initial email were really just an elaborate prank. If so, someone sure fooled me.

The great divide I've noticed at my work is between fiction and non-fiction. The devotees of one rarely cross over to the other. I've heard lots of explanations, on both sides, for why they prefer one over the other. Usually, the non-fiction readers think fiction is all the same, or light entertainment, not serious or interesting. For them, reading is an investment of time, and fiction has no payoff. It's the empty calories of the literary world.

On the other hand, fiction readers look at non-fiction as dry and boring, no heart or soul To use another food metaphor, fiction is the gourmet meal and non-fiction is cafeteria food, with all the nutrition but none of the flavor.

One of the biggest criticisms I received in graduate school was that I was too creative with my research papers. Not too creative in topic or ideas, but in writing style. The idea was to have the language completely transparent. I tried to acquiesce, and I'm very glad I failed.

I think good non-fiction has elements of fiction writing in it. That's what keeps it from being cold fact, and makes it worth the experience.

But of course, that's to me. And I love fiction.

Publication Status:
  • Submitted: 5
  • Accepted: 1
  • Rejected: 2
  • Pending: 2

Reasons for writing

Confession: I occasionally goof off at work. But at least I have the grace to feel guilty about it.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,455 words (Estimated completion 14%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%

Still no word from the Tea lady. I think she wants to find out what happens when my countdown below ends tomorrow.

By the way, did you see that the word count on Ferian went backwards again? Yeah, that was on purpose. I did a rewrite of the first section again, cut out a couple of extraneous paragraphs and tightened elsewhere. I'm much more content with where it stands, and you might even see some more movement soon.

I've been given the potential opportunity to run a workshop at some point in the future. That's right, I didn't say attend, I said run. (Who thought it was a good idea to give me power? Geez.)

Me being me, I immediately started brainstorming workshop ideas. Of course, anyone who has ever taught knows that you have to tailor yourself to the group you're working with. So I've identified the three major groups I've seen in workshops: the poets, the memoir writers, and the fiction writers.

Sure, there are other writing interests out there, but they don't seem to come to workshops. I've met one biographer, and he was writing it more as a fictionalize version, so I'm going to toss him in the last group. I'm in the last group too, by the way; I'm not nearly interesting enough to be worth a memoir yet.

Poets, I think, benefit a lot from the theory of writing, in regards to metaphors, alliteration, prosody, verse structure, rhythm, assonance, and all the stuff you learned in 8th grade English and forgot by 9th. Here's an idea... for a poet-heavy group, do a Poet of the Month and read some already published poetry.

Memoir writers tend to be older, although this is not universally true. They're less concerned about the mechanics of writing, and more concerned with sharing it with people. They might benefit most from discussions of story structure, and how to recast their memories into narrative form. I think James Herriot would be a great author for them to read.

Finally, the fiction writers often need the mechanics of point of view, grammar, and sentence structure. The narrative form and story structure is important too, as is the metaphor and rhythm parts mentioned in poetry.

In other words, fiction kind of forms the middle ground between memoir and poetry. (Or at least it does according to this way of thinking. I may be biased.) But if I target my general discussion towards these issues, I can probably find a way to make it interesting for everybody.

Publication Status:
  • Submitted: 5
  • Accepted: 1.05?
  • Rejected: 2
  • Pending: 1.95?

17 September 2008

A Tour of My Bookshelves, Part 6 of 33

Confession: The number of ideas I have far exceed my motivation to put them on paper.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,820 words (Estimated completion 18%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%

Still no word from the Tea lady. She probably read her fortune in the leaves and decided that it was an inauspicious time to call.

Oh by the way:

The previous entries in this series:
It's time to start another bookcase entirely. This time, it's the top of the bookcase which has been pressed into duty as a shelf in its own right. Witness the very top of the Case of Attractive Books.

Whoever said "don't judge a book by its cover" clearly never had a living room. The only criteria for inclusion on this book case is (1) that the book be attractive to look at, and (2) be a classic or derivative of a classic.

On the far left are a few interesting copies of the Bible. The largest is a German edition from the late 1800s, followed by an even older German prayerbook. The next along is a Spanish version, very recent but still Attractive and therefore worthy of inclusion.

Next up are a couple of Louisa May Alcott books that fulfill condition (2) but not really condition (1). The Jane Austen compilation follows for much the same reason. But I've always liked the cover on the Seamus Heaney translation of Beowulf, so it earned its place twice over.

A modern classic comes next, Midnight in the Garden of Good and Evil. If you saw the movie but didn't read the book, give it a chance anyway. You'll be pleasantly surprised.

After that is The Decameron, which is one of my favorite bedtime reads. You can get through a story or two before getting sleepy, and then you get to dream about young aristocratic Italians telling each other stories to forget the fact that all the poor people are dying of the plague. Charming.

To its right is Wuthering Heights, a book I do not care for, but even I will admit it's a classic. There follow several collections of poetry by Elizabeth Barrett Browning. I have read the more slender volumes, but the big chunky Complete Works on the end has thus far escaped my attention. By the way, that one actually pertains to Robert Browning. That should tell you how closely I've read it.

I'm rather pleased, though, to note that every other book on this shelf I have read. (Okay, not the German ones, but that doesn't really count.) I can't say the same for the other shelves, although I average at least 75% in most cases. Next time, the Case of Attractive Books enters the C's. Don't miss it.

Publication Status:
  • Submitted: 5
  • Accepted: 1.10?
  • Rejected: 2
  • Pending: 1.90?

16 September 2008

My Own Personal Writing Month

Confession: I just spent 20 minutes on the phone answering a survey, in the hopes that they would ask me who I was voting for. They never did.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,820 words (Estimated completion 18%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%

Still no word from the Tea lady. The monkeys probably got her.

In the last couple of weeks, three different people have suggested I take part in National Novel Writing Month. I won't try to describe it; you can click on the link, or google it if you don't trust me. (It's not a rickroll. Really.)

The goal is to start writing on November 1st, and write 50,000 words by midnight, November 30th. In one respect, this would be great for me. On the other hand, I hate writing crap. Yes, I know, the point is to make you okay with the fact that sometimes you write crap. I know I need to learn that lesson. I just don't know if this is the way to go about it.

Can I do 1667 words a day?

I just had a great idea today for another series of connected short stories. Maybe I should attempt that. And there's always Ferian, right?

You know what? Fuck it. I'm going to do it, and I'm going to do it on my own terms. I'm going to commit right now that I will write 52,347 words in the month of October. (Screw November. I'm not going to stress out over Thanksgiving.) They don't all have to be in the same novel. In fact, I'm going to try to write a bunch of different projects. As long as they add up to 52,347 at the end of the month, I'll count it a success.

Publication Status:
  • Submitted: 5
  • Accepted: 1.15?
  • Rejected: 2
  • Pending: 1.85?

15 September 2008

Dealing with the sudden

Confession: I broke my chair at work today. Ouch. Again.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,820 words (Estimated completion 18%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%

Still no word from the Tea lady, unless she called while I was unconscious.

That's a lie, actually. I was never unconscious today. I did have a bit of a spill, though, which got me to thinking about writing. I had gotten up to get something off the printer, came back to my desk, and flopped down in my trusty swivel chair when suddenly...

Right there. See what I did? It's that adverb "suddenly." There's a lot in that little word.

What does it mean? Sudden is the opposite of gradual, so we can think of "suddenly" to mean "involving and abrupt change of state." In my case, the change was from a seated position to sprawled on the floor with a sore head.

What happened in between those two states? Well, as I sat, the chair began to tilt to the left. Metals which had been stressed to the breaking point suddenly snapped, and there was no longer anything keeping the chair, and myself, in a vertical position. Like a hinge, the seat tipped down, bringing me with it, until my skull smacked heartily into the edge of my desk. Meanwhile, I grabbed at anything I could find, the papers I was carrying still clutched in my hands.

Suddenly. You see, when a person (or character) is living a "normal" life, there are certain expectations. Failing to sit correctly is probably not one of them. It takes a certain period of time to process unexpected stimuli, and I only managed to achieve that once I had made it to the floor.

Suddenly. I was the center of attention. I didn't quite know how to react other than to get to my feet and reassure everyone that I was all right. Honestly, I didn't know that for sure myself yet. My head was hurting, but it was distant. The detail I remember the most was the papers I had been carrying, which were tremendously wrinkled from where I grabbed at the desk through them. I remember thinking that perhaps I could photocopy them, and then the copies wouldn't be wrinkled.

In other words, confusion. Suddenly, I was in a different place than I expected to be. It makes me think of video games. (No, I'm not still confused, just follow me.) If you're on one screen, there are a limited number of other places you can go. The computer can preload those screens and have them ready for you, so whichever you pick, the computer can take you there right away.

Suddenly. I had done the equivalent of a warp zone and zapped myself into unknown territory, and the machinery of my brain had to rush to catch up.

Thankfully I was not badly hurt, just a little shaken, and a bit of ice quickly put me to rights. I also got a new chair. Plus, our human resources department probably loves me now for not suing them. So all's well that ends well.

What I've taken from this experience is a way to write those "suddenly" moments. Let the reader think he or she knows what is about to happen, and then take them in an unexpected direction. Are they confused? Good! They should be, and so should your POV character. Give the reader details that maintain interest, of course, but the resolution of that confusion will provide the energy of the scene. Let small, insignificant details stand out, which may provide clues about what's going on, and may not. If you can disorient your reader without getting them lost, you will have succeeded.

Publication Status:
  • Submitted: 5
  • Accepted: 1.20?
  • Rejected: 2
  • Pending: 1.80?

Quick story idea

Confession: I wore the wrong shoes today. Ouch

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,820 words (Estimated completion 18%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%
Still no word from the Tea lady. Maybe if she knew that I spent the day today in New York City, she'd be impressed. Lots of... uh... publishing happens there, right?

Just a quick story idea, because it's late and I'm exhausted. I was at a Williams Sonoma today, and a genial Austrian chef was showing us how to make some kind of tomato mousse. (Yeah, I didn't think it sounded good either.) He kept getting interrupted by late-fifties, blonde, Williams Sonoma employee lady, who seemed to think she had to show him how to use the blender.

Their relationship degraded rapidly, and was lots of fun to watch. A story idea? Possibly for the future. It reminded me of the mead making demonstration. It's an interesting character dynamic, but it's not a plot. It would need more development, but that shall not be done tonight.

Publication Status:
  • Submitted: 5
  • Accepted: 1.25?
  • Rejected: 2
  • Pending: 1.75?

13 September 2008

Scriptwriting versus Prose

Confession: We never escape from our old selves, but we can stand on top of those selves to reach higher things.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,820 words (Estimated completion 18%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%
Still no word from the Tea lady. But today is Saturday, and even editors who are busy not calling me have to take a break some time.

As you can see, I did some Ferian today. Not a lot, and not as much as I should have, but some. And that's something. Progress is progress, and I refuse to sneeze at it, because it's more than I've done lately.

Still, inspiration struck this evening in an unexpected way. I wrote a comedy sketch for the podcast Chicken Fried Radio, which I will hopefully get the chance to perform and record at some point in the near future.

At one point, I considered trying to get into comedy writing for television. Working for the Daily Show or Colbert Report, for instance. However, my total net experience was a friend's roast back in college, which is hardly a basis to judge a future career. (It was fun though.)

Doing that short script today got me thinking, though, about the differences between writing a script versus writing a novel. In a script, you're writing for a performance. In an audio-only environment, you can control the dialogue and environmental audio, and nothing else. In a screenplay, there's the whole world of scenery that you can hint at, but the real work in developing the visuals is left to others.

There are certain elements to consider in a script, such as timing, that do not apply to prose. That's not to say that prose does not have an inherent rhythm. I think what I'm getting at is that a script is meant to be performed and interpreted by a given set of performers.

Prose, on the other hand, is performed anew each time it is read, and it is done differently by everyone who reads it! That sounds so much more difficult to accomplish.

Luckily, the prose writer has a tool that the scriptwriter lacks, and that is exposition. The way that a character's actions and setting and appearance and all those little things are described influences the way the reader interprets a scene. For example.

"It just wasn't the same without George there." Evelyn could barely keep from twirling on the spot. The energy surged up and down her body, made her worn-out sneakers feel new again. The sunlight sparkled on the waves like it was sharing a joke with her and her alone

"I've never seen you like this!" Hank chuckled and shook his head. "So what are you going to do now?"

"What else can I do?" she giggled, skipping along the boardwalk. "Now I have to go."

Compare that to this: same dialogue, different exposition.

"It just wasn't the same without George there." Evelyn sank a fraction of an inch deeper into the stiff backed chair. It wasn't welcoming. None of the furniture here was. But wasn't that the way with funeral homes? A fashionable, well-appointed place, like a living room. Just the opposite, really. There was no comfort to be found here.

"I've never seen you like this!" Hank leaned over and took her hand. She did not grip back, and after a few moments, he let her hand slide from his, back to the green brocaded chair arm. His voice dropped to a whisper. "So what are you going to do now?"

"What else can I do?" The words sounded small in her ears, hardly as if they were coming from her own lips. "Now I have to go."
Finally, compare that to the same dialogue in a script.

Evelyn: It just wasn't the same without George there.
Hank: I've never seen you like this! So what are you going to do now.
Evelyn: What else can I do? Now I have to go.
Sure, there could be stage direction, and surely there would be a description of the scenery earlier in the script. But the performance would be done by actors, not by the exposition.

I guess what I'm trying to say is that exposition in a piece of dialogue is what gives the reader the clues he needs to be able to perform that dialogue in his head. Clever exposition does it without the reader even realizing it, but too much exposition threatens to bury the dialogue, which is the true action of any scene with speech.

Publication Status:
  • Submitted: 5
  • Accepted: 1.25?
  • Rejected: 2
  • Pending: 1.75?

12 September 2008

The Element of Surprise

Confession: This is not the confession that was originally posted here. I forgot to do it yesterday, and now I'm revising it.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,520 words (Estimated completion 17%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%
Still no word from the Tea lady. Maybe she suddenly decided that tea wasn't worth dedicating her life to, and she ran off to join the circus.

Today I started considering what it meant for there to be a "surprise" ending. The obvious starting place is the literal meaning of the words, for there to be a climax which the reader does not expect.

The natural opposite would be the cliched ending, often called the "Hollywood" ending. Of course the hero is going to survive, because he has to survive. Of course he's going to get the girl, because he has to get the girl. Not only is there no surprise, but the ending fits a mold. It's more of a ceremony than a plot.

I think that there can be good surprise endings and good Hollywood endings, if each is done correctly. I also think that most stories, including the great stories, fall somewhere in between.

Let's take The Lord of the Rings for instance. The Hollywood ending is for Frodo to achieve his journey and, after a great struggle, throw in the ring, then return home and live happily ever after.

The surprise ending, on the other hand, would be for Frodo to declare that his allegiance was to Sauron all along, to bend down on one knee, and present it to the dark lord. Or maybe he and Gollum were working together. Or maybe Sam had been given instructions by Gandalf to push Frodo in.

What a twist! But none of it would be genuine. Perhaps that's the word I'm looking for. A genuine ending is one that the reader cannot fully predict, but remains fully justified in retrospect.

Frodo could not throw in the ring, and it was only by chance, the same type of random chance by which the ring was found, that it could be destroyed. And when Frodo returned home, he found not the idyllic land he had left, but a place to which war had come nonetheless. And even when it was restored to some semblance of its former nature, he could find no rest there, and accepted exile, a type of death, in place of long life and happiness. It's a genuine ending, and truly, the only one that worked, because it was truly justified by everything that came before it.

Movies are a type of short story. A picture may be worth a thousand words, but sometimes, the pictures take longer to show. I think only movies and short stories can get away with the Hollywood ending or the surprise ending. There is not a lot of time to establish good characterization in either, and as a result, neither the surprise nor the cliche feel like a cheat.

On the other hand, novels are long and (should) have more than adequate characterization. They need a genuine ending.

Of course, if you can write a short story with a genuine ending, well, then you've done something special.

Publication Status:
  • Submitted: 5
  • Accepted: 1.25?
  • Rejected: 2
  • Pending: 1.75?

11 September 2008

The Anecdote, Part 2

Confession: I feel guilty when I throw away paper towels or napkins that are only barely used, but I'm not so environmentally conscious as to save them for later.

Reading:
  • "L. DeBard and Aliette: A Love Story," by Lauren Groff
  • The House of Mirth, by Edith Wharton
Writing:
  • "Ferian Fetlock Hitches a Ride" - 1,520 words (Estimated completion 17%)
  • "Ferian Fetlock Catches a Cold" - Outline 100%
Revising:
  • "The Revenant"
  • "Cora and the Sea" - Third draft 50%
Four days on, and the Tea lady is silent. Maybe she's drinking tea. Or maybe she read this blog, which reveals the story was originally about coffee. (Horror of horrors!)

No matter. I had a homework assignment, and now I'm going to turn it in. I did hear a really good anecdote today. The best kind office anecdote--gossip! I won't reproduce it in full here, since I'd like to keep my job, but it had a few elements that I'd like to point out.

First of all was the setup. "I've got a good story about that," he said, just before relating the anecdote. "Back when I first met her...." And thus the story began. Since the anecdote was part of a larger conversation, the speaker first indicated that the impending narrative related to the topic of conversation. He did something else, too--he claimed the floor. There were five of us in the room, carrying on a couple of conversations at once, but when the story began, we all fell silent, ready to listen.

Finally, he established the time of the story, in the indefinite past. Since the story was about a work colleague, we assumed that the setting was the workplace. We were almost ready to go.

One more detail... the speaker commented about an aspect of his physical appearance at the time which differed from his appearance now. This was vital to the understanding of the narrative, and it was introduced at an early stage.

Now that the stage was set, the narration began. It was a short reconstruction of dialogue between the two characters, and I must say, the narrator of the story did a pretty good impression of his colleague's voice. As expected, the detail of the physical appearance served as the fulcrum of the story; without it, it would not have made sense, or got a big laugh.

Once the climax had occurred, we all felt licensed to comment on the story, expound on it, or generally return to conversation. The anecdote was over, and conversation resumed.

What I found intriguing about the whole business was the behavior of us, the audience. When the story began, we let it be told. And it would have been rude to interrupt. We accepted the initial detail of the physical appearance even though it had no bearing on the conversation up until that point. Why? Because the very first sentence put us into the framework of a story, and that's what we expect.

I think a lot of the way that people react to the written word comes from our reactions to spoken narrative. We are not expected to contribute, only to pay attention. We can accept unconnected details as relevant, even if they have no bearing on what comes before. The presentation of dialogue is easily understood, and with minimal speaker tags.

Of course, there might be a little bit of the chicken and the egg in this. After all, who's to say how much of our style of telling anecdotes is influenced by a lifetime of reading?

Publication Status:
  • Submitted: 5
  • Accepted: 1.30?
  • Rejected: 2
  • Pending: 1.70?