Showing posts with label Jonathan Strange and Mr Norrell. Show all posts
Showing posts with label Jonathan Strange and Mr Norrell. Show all posts

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%)

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

07 July 2008

50th Post Extravaganza

Confession: Yeah, I didn't do any writing this morning. Or exercising.

Reading:
  • Someplace to be Flying, by Charles de Lint
  • Dark Force Rising, by Timothy Zahn
Writing:
  • "Ferian Fetlock Cures a Horse"
Revising:
  • "Cora and the Sea"
This is my fiftieth blog post. And you know what? It's working.

Never before have I thought about writing for such a long period together. I've always reached the low point in the sine wave, and abandoned it until I hit the next upswing. That's not to say that I've accomplished a lot over the last few weeks, but at the same time, I haven't been entirely unproductive, either.

I feel like I need to learn more about the craft of devising plots, and to do that, I want to go in-depth into a book with a very intricate plot. Maybe intricate symbolism as well, something that I can really sink my teeth into.

I have a couple of possibilities. The first is Jonathan Strange and Mr Norrell. Another is Harry Potter. Both are books for which it is clear that a plan existed from the very beginning, and it was carried through to the end. I think I like the writing style of Strange a little better, although the plot in Harry Potter is more intricate, the characters more varied in a way. Of course, there's nothing to say I can't do both, eventually.

So here's the plan. Instead of blogging about Strange, I'm going to do a wiki of it. It will start with a chapter by chapter analysis, but that will also begin to include information on the characters and personalities of the characters. I want to see how and why I build up a certain image of them in my mind, and how that arcs through the story. There's no better way to do that than a wiki.

Of course, it's a big project. I'll have to work on it gradually, and set a schedule so I keep working on it. But that is a task for another day.

09 June 2008

Audiobooks

Confession: Johnathan Strange & Mr Norrell ranks as one of my favorite books. I have never read it, only listened to the unabridged audiobook. Three times.

Reading:
  • The Van, by Roddy Doyle
Writing:
  • "Ferian Fetlock Cures a Horse"
Revising:
  • "Dolly Hobbles"
Just the other day, I recorded a reading of one of my stories for the first time. As long as I've been messing around with audio, you'd have thought I'd have done it before now, but there it is. I recorded it, acted it out as best I could, and listened to it several times. It wasn't that bad.

The story I read was "Cora and the Sea," which presented several challenges. First, it is a first person POV from a woman's perspective, and I never know quite how much to act up the feminine side. Let me rephrase that. Whenever I'm reading aloud and I get to a woman's part, I do try to alter the tone of my voice to indicate the gender difference, not in a high pitched, squeaky, Mickey Mouse way, but more in the... well, I don't quite know how to describe it. But I've heard other male readers do the same thing in the same situation, so I'm not alone.

What I find myself doing is emphasizing the difference more in dialogue, even though the narration is from the same character's POV. But I used the same voice, if that makes any sense. Pretty much I'm just doing my best to echo that character's voice in my head, in whatever way I can.

After completing the spoken version of the first story, I did the same with "Black Pudding," only this time in a British accent. Now let me say this--my British accent is fucking awesome, and I've been told it sounds authentic by actual Brits who would have loved to find one more reason to ridicule me. So I'm confident it doesn't suck.

But there I was, trying to use several different voices in the context of that one accent! The POV character was a woman again, but there were two other female characters (although one had only one line) and two male characters. I gave each his or her own voice. And the thing is, I don't know how, except to say that those are the voices that I heard in my head as I was writing.

And I think that's why I like the idea of audiobooks read by the author. Some authors have the ability with voices

I'm arrogant enough to think I do

and some don't, but they all know what the characters were supposed to sound like. The great ones can render that into the way they present their material. I'd like to do that myself some day.

The subject comes up because I'm going to be on the program for a reading this August, for "Cora and the Sea." I'd like it to be perfect, so after revising the story next month, I'm going to practice, and practice, and rerecord the audio version, then listen to it several times so I can pin every nuance. I have ten minutes to sell that story to the audience, and I'm going to sell the shit out of it.

26 May 2008

Rational versus Irrational Magic

Confession: I cried for the last 150 pages of Harry Potter and the Deathly Hallows. Almost nonstop.

Reading:
  • Master of the Cauldron by David Drake
Revising:
  • "Illuminated"
First of all, thanks to everyone on the Accentuate Writers Forum who helped with the revisions of "Illuminated." Super giant shout out!

In revising "Illuminated," I noticed that this is my first ever fantasy story, or even fantasy idea, with what I like to call "irrational" magic.

It all comes down to the type of magical system employed in the story. Some are almost scientific in their complexity, like the One Power in the Wheel of Time. There are some mysteries and inconsistencies, sure, but having read twelve books in that universe, I feel I could sit down and write a pretty good research paper on the way the power works. Moreover, I could make explicit what is and is not possible with the One Power. Magic, in that universe, is merely an extension of the laws of physics, not something that breaks those laws.

David Edding's The Belgariad (and The Malloreon which followed) is similar in a way, not with magic, but with prophecy. The ways that prophecy work in those books are very explicit. Much of the interest of the series derives from that overt view of prophecy as something that can be studied rationally.

And that's the keyword for me, rational. These are systems that make sense, within the context of the story in which they're written. The authors have made entirely explicit the causes and consequences of their magic systems, and we have the ability to predict how things will work in those words irrespective of whether the authors actually wrote about those scenarios or not!

That's why The Wheel of Time would make such a great role playing game. The rules of magic are so explicit that they could be easily encapsulated into a rule set. (The D20 RPG did an okay job, but it could be done better.)

You'd never get that level of explainability with, say King's The Dark Tower or Susanna Clarke's Johnathan Strange and Mr Norrell. In both cases, magic is unpredictable and irrational, and the reader never knows what it may or may not be capable of.

That's not to say that there aren't rules, but in both cases, those rules come from what the characters themselves are capable of, not what the magic system can achieve. The vast majority of magic is hanging out there as a great unknown, and it remains a mystery what it can accomplish.

In the case of Johnathan Strange and Mr Norrell, the irrationality of magic was actually a theme of the book. For centuries, English magicians had been trying to study it as if it were a rational system, but as the book proves, it is inherently irrational. One of the main characters concocts a potion that bestows temporary madness just so he can understand magic better. The end result is the assertion that the world of magic (in the book, that is) is more great and wonderful than the human mind can comprehend.

Given my background, I'm much more comfortable with the scientific approaches to magic. My longterm project, Dairhenien's Library, uses a very explicit and rational magical system itself.

"Illuminated" is my first attempt at an irrational system, although I don't think that was my purpose in starting out writing. I give no explanation as to why the four books exist, only that they do. And I establish rules... if Lasair had not resisted, he would have lived; if he hadn't broken the rules earlier on, he wouldn't have gained the forbidden knowledge that frightened him so and caused him to try to resist the final page. It was his choices that defined the outcome, not some undefined magic system. Yet, I hope, I left the reader with the idea that there were parts of nature that were great and terrible and beyond our comprehension.