Happy Thursday, everyone! Summer school is winding down for the kids, which means August will be a month of Blondie, Biff, Bash, and I driving each other crazy–I mean, being creative together. 🙂 No matter what, though, I hope to keep writing here, finishing up my latest release (more on that at the end of this post!), and connecting with more of you beautiful souls! x
It’s been such an honor to connect with so many different authors from across the world. Today I am pleased to introduce you to Australian poet Frank Prem. Take it away, Frank!
Hi Jean, thanks
for the opportunity to chat today.
I’m a writer of free verse poetry, for the most part, resident in a small town in Victoria (Australia). I’ve been writing and developing my approach to poetry for over forty years, now, and have recently become the Indie published author of two collections. The first – Small Town Kid – came out in December 2018, while the next – Devil in the Wind – was released in May 2019.
When I’m not
actively pursuing writing and other authorly pursuits I work as a psychiatric
nurse, here in the town, in a small long-term rehabilitation unit.
The town I live in – Beechworth – is a pretty little place of around 3,000 residents. We have a gold mining history dating back to the 1860s, and the township itself is very well preserved, with a lot of stone buildings hewn from the local honey granite (a warm, pinkish colour in the rock).
We have become a tourist town, with thousands of visitors passing through each year, and most of them making a beeline for the well known Beechworth Bakery (https://www.beechworthbakery.com.au/).
It’s mostly a
quiet life, but very pleasant, all in all.
You may have noticed how much I love to share the music that inspires my writing. Do you also enjoy music to write, or do you require silence? If the former, would you like to recommend any favorites?
Yes, music is such a gift to us, Jean, and it has influenced my writing immesurable. In case you’re wondering, my personal taste always leads to me to find a wonderful voice – regardless of genre. The voice I have gravitated to most is that of Emmy Lou Harris, who is mostly known as a Country singer, but actually able to sing anything.
I generally write
in silence, but the music in language is quite critical to my work. My usual
approach is to create a melody of some sort in my head and to sing my work
(silently) line by line to try to imbue it with a sense of song. My often
repeated mantra is that ‘rhyme should be invisible, while free verse should be
Beautifully said, Sir.
Have you ever gotten reader’s block with another poet or prose writer? How did you overcome it?
Yes I have, Jean.
I’m a very poor reader of the work of other poets. I worry very much that I
will get other work in my head and inadvertently plagiarise or otherwise stray
from my own track.
With prose, I tend
to return over and over to a few favourite writers as my mainstay, with a
greater willingness to branch out and experiment with reading speculative
fiction. In recent times, particularly space opera fiction. Bang-bang
shoot-em-ups in the stars are a wonderful freedom for me, that is far enough
from any realities down here on earth to be completely enjoyable.
I think with my general reading I am looking for inspiration in my own work. Recently I read the entire translated work of a French Philosopher named Gaston Bachelard, who died back in the 1960s.
He explored the phenomenology of poetry and poetics and used imagery in such a way that my imagination was fired and I could hardly read more than a couple of lines without having to put the book down and write a poem that his thoughts had triggered in mine. I ended up with around 800 new poems out of that experience.
That’s a hard act
to follow, but I think I’m constantly looking for a similar experience when I
800 poems just from the course of studying one philosopher. That…wow. That, Sir, is an impressive exploration of language. What was an early experience where you learned that language had power?
I think I’ve
always known it, Jean. As long as I can remember I have played with words, in
my head and in my speech. Twisting and contorting words and finding their
nuance and inflection and emphasis has always held pleasure for me.
An example comes
from my secondary schooling when I didn’t want to complete a pretty boring
essay that required a certain number of pages of work to be presented. Instead
of completing the task in the usual way I, for some reason, submitted a poem.
Correct number of pages, but very few words. I received a high mark (because
poetry hadn’t been seen in my school since the previous century, I suspect),
and have been writing poetry ever since.
Since you say you live with a fellow creative who’s a puppeteer, I just have to ask: do you write anything for the puppets to perform? This is a totally selfish question, I know, but when I was younger I used to write puppet plays and then perform them for the kindergartners at my elementary school. Loved every second of it.
That’s a lovely
story of your own, Jean. Thanks for sharing it.
Leanne my wife has
been performing puppet shows in pre-schools and kindergarten centres for many
years, on and off. We have spoken often of a show that would be aimed at older
students or adults, using my voice to read the poetry of the show, while Leanne
performed with the puppets.
That may be
creeping closer as an option with my transition into the authoring field.
collaborated in other ways in the past however.
Leanne designed my first attempted foray into book production some years ago, and from time to time has put poems I’ve written into music.
If you (or
readers) care to listen and read, this link will take you to the poem ‘Time
Comes’, on my poetry blog. I recently resurrected the piece to commemorate my 3
year anniversary as a blogger.
You are very, very concise with your word choices in your poetry, so much so that when you have a line longer than four words I sit up and take notice. (an observation made with “#Somme (8): two pennies up (for the ambulance)”). When would you say you discovered this concise style within yourself, and how do you nurture it today?
An excellent question
that touches on an aspect of writing that I think about a lot.
My discovery has
been gradual. When I look at early work, I have used long lines, almost
paragraph, in style. I think I started to seriously challenge myself with this
when I started reading poetry at the various open mic venues in Melbourne that
were available to me for a few years when I was starting out. I found that long
lines and blocks of text were difficult to read under the lights and in front
of a microphone.
I began experimenting
then with writing to mimic speech – nuance and inflection, pause and
enjambment. SO much so that it is now my writing style and unique to me, as far
as I know.
More, though. I believe this approach of using line breaks to emphasize small pauses and inflections, and stanza breaks for breathing are a way to assist young folk to read more fluently. I won’t take up space here to expound my thesis but I have written on the subject over at my author page. I’ll be interested in your thoughts.
Oooo, thank you kindly! I look forward to reading it.
Now,You’ve re-issued one collection of poems—Small Town Kid. It’s a journey through your childhood, reminiscent of Seamus Heaney’s District and Circle. Do you find this period of life to be a common ground between poets and readers, and if so, why do you think we never tire of walking such grounds?
The first attempt to publish Small Town Kid was a wonderful adventure in book design and creativity between Leanne and myself. Unfortunately, it was back in the dark ages of printing, and to achieve cost efficiency it was necessary to purchase hundreds of copies of the book. I wasn’t ready to market myself or my books in that way, so the attempt was put to sleep until Print On Demand presented itself as an option.
I have been quite amazed by the strength of positive reaction to Small Town Kid. It certainly seems to resonate with readers.
I wonder if the
reason for this connection is not akin to my reasons for writing the collection
in the first place.
When I had small
children of my own, I would routinely talk about what I and my friends had done
when we were young – the freedom to roam, unsupervised is the chief
characteristic of those times, in my mind. My kids, however, didn’t believe my
stories. They seemed to be simply too far-fetched to be true.
I realised that a
whole era of childhood (the 1960s and 70s) had disappeared by the mid-1990s. We
had begun to supervise our children. To deliver them to friends and to school,
and to collect them afterwards. Television and hand-held devices had begun to
stories down seemed to make them more legitimate, in some way.
What I find with readers is that if I read, for example, the long poem ‘Crackers’ about bonfire night preparation and execution, I will have a line of people, mainly men, who have a bonfire lit in their eyes as they want to share with me their own experience and memories.
I think it is the
imagery combined with the voice-song of telling or reading that allows the
reader to enter their own best memories of childhood, and I believe it is the
recollection of childhood freedom that makes these stories so attractive.
If you could tell your younger writing self anything, what would it be?
Not to be in a
hurry for fame and success. I’ve always been a person who wanted things to
happen immediately. If I was pursuing my career, I should get the next
promotion. If was writing a poem, surely it was a most worthy creation and
should be published immediately.
Learning to let go
of that kind of pressure, placed on myself by myself, has been a great lesson
I’ve found that
the gift of time has allowed me to mature and become a better person, a better
worker, a better poet.
I completely understand. Not only do I see it whenever I look at an old draft–heck, the first draft of my novel was written in 2010–but I can feel the change in my own perspective thanks to the growing creative expressions of my children.They tire me out, my little B’s, but I wouldn’t want them any other way. Writing helps my soul breathe and my passion to stay alight; does writing energize or exhaust you, and why?
For me, writing is
like breathing, so there is no real question of growing tired from it. I can
take a day or two off from writing, but I don’t really like to. I enjoy this
part of myself very much.
What is tiring is attempting
to master the ancillary roles – being an Author. Mastering the myriad details
of properly publishing paperback and e-book formats. Marketing (oh lord, how
tiring marketing can be!)
All part of the
deal, though, so no point in wailing.
energizing, though, and what I know has a direct and beneficial effect on the
quality if my writing, is reader feedback.
A comment or
conversation with a reader is stimulating. A positive review is absolutely
exhilarating, and I want, immediately, to sit down and write the next thing.
Bigger, better, more astounding . . .
You get the drift, I’m sure. I love my readers and reviewers and the effect they have on me as a writer.
You and me both, Sir. You and me both.
My deepest thanks to Frank for taking the time to talk to me! Here are his vitals so you can find more information on Frank Prem and his work.
But now it’s time to define the, well, indefinable. The hero who’s beyond all redemption.
Billy Butcher is the leader of The Boys, a government-backed group created to keep the corporate-backed super-heroes from taking over the world. Butcher meets all the marks of a tragic hero. His wife Becky was raped by Homelander, the most powerful of all the superheroes (aka “supes”), and died when his unborn baby tore its way out of her stomach. The baby nearly killed Butcher with laser vision, forcing Butcher to beat this baby to death while his wife bleeds out in front of him.
Tragic backstory doesn’t get much darker than that.
From a writer’s standpoint, it’s shocking that we learn this much about Butcher by the sixth issue of the series–six out of seventy-two.
Why do we get this monumental information so early? Isn’t this the sort of thing that’s dropped further on down the plot, when reader engagement is high and they want to know more about where the characters come from? After all, we don’t get the backstories of M.M., Frenchie, or The Female until Issue 35.
First, Butcher’s using the information to motivate Hughie, the protagonist readers follow through this series, to join The Boys. Hughie himself lost his girlfriend when the hero A-Train crushed her against a wall during his fight with a villain. Mutual loss bonds the two characters.
Loss isn’t all that drives Butcher. There’s a reasoning–a philosophy, if you will, or a code. It takes me back back to the stories of the “lawless” West, or even the classic Robin Hood; just because a man is lawless doesn’t mean he’s rule-less. It only means his rules and society’s laws don’t sync up. Now whether his rules benefit others outside himself could be up for debate, I’d say–Clint Eastwood’s Man With No Name comes to mind. He’s clearly out for personal gain in For a Fistful of Dollars. Sure, he helps a kidnapped woman and her family escape, but that’s only to screw around with two warring families whom he’s scamming for all they’re worth.
Butcher, too, has his own set of rules, and he doesn’t care if they jive with anyone else. He tells the CIA director in Issue 1:
Superpower’s the most dangerous power on Earth. There’s more an’more of’em all the time, an’ sooner or later they’re gonna wise up. If you can dodge bullets or outrun tachyons or swim across the sun, you’ve better things to do with your life than save the world for the two hundredth time. One day, you might twig what you’re really invulnerable to is your humanity. An’ then God help us all.
Butcher to Dir. Rayner, “The Name of the Game” Part 1
A lot happens to prove Butcher right. The Boys fight a huge number of supes who rape and kill for fun, their atrocities almost always covered up by the Vought Corporation. The public goes right on devouring the stories told in Vought’s comic books like they’re the truth of the world. One by one, Butcher marks The Boys’ targets and plans how to take that team of supes down.
Everything he does or says serves whatever it is he got planned. He don’t waste nothing’–not time, not words, not effort. Not even a goddamn smile, Hughie.
Mother’s Milk to Hughie, “Get Some” Part 2
The Boys maim and kill a number of supes, be they street teams or a Nazi disguised as a Norse god. So long as they’re just killing bad guys justice won’t touch, then everything’s okay, right?
This is what we tell ourselves. As readers, we escape into stories to see comeuppance served because so often the justice served in reality is unsatisfactory. In fiction, the detectives catch the bad guy. The villain’s plot to take over the world is thwarted. The bad guys, the really bad guys, pay for the crimes.
Characters can be antiheroes who do horrible things because they’re still heroes, if only just. We’re sure there’s something good in them, and we’re willing to wait out the horrible things in order to see that goodness come to light.
And we see Butcher with that goodness, if only just. The miniseries Butcher, Baker, Candlestickmaker takes readers into Billy Butcher’s past. We meet Becky. We see her and Billy Butcher fall in love, get married. We see the charming side of this antihero, and his heart.
We see Becky die, and the aftermath.
Loss rarely breeds good things. Strange, how often we look for tragedy in our heroes–the loss that drives them to fight for justice, for making things right. We forget that revenge and ambition do not always lead to bettering the world. Clint Eastwood comes to mind again, this time as Dirty Harry in the film Dirty Harry: Magnum Force. There’s a crew of cops out to take justice into their own hands, and they want Harry to join them.
It’s the Point of No Return. Harry is invited to cross it, but he refuses.
Butcher, on the other hand…well. He crossed it long, long ago.
Readers get a preview of Butcher’s true nature in Issue 14, when he sets off a genetic detonation device that kills 150 supes who did took money to help start a coup in Russia. In Issue 28 (The G-Men series I’ve written about before) Butcher is fine killing a supe team of teen boys; later, if not for Hughie, Butcher would have killed a team of mentally challenged superheroes simply for cussing in front of him. These two teams weren’t trying to overthrow any government. Heck, some were genuinely trying to help the citizens of their town.
Where is this antihero’s rules, his personal code? Butcher gives one version of his code to Hughie after the G-Men slaughter:
But we ain’t here to make things better, are we, Hughie? We’re here to stop’em from gettin’ worse.
Butcher to Hughie, “We Gotta Go Now” Conclusion
Okay, that sounds somewhat justifiable. There are many problems in the world that can’t be eradicated. Sometimes containment’s the best one can hope for.
But a flashback with Butcher’s mentor Col. Mallory sheds a brighter, nastier light on the true rule Butcher lives by no matter what the rest of the world says. When Butcher and Mallory discover a convention of supe children have all been gassed to death, Butcher doesn’t care. To Butcher, the only good supe is a dead supe.
I’ll tell you how you neutralize the potential threats: you f***in’ drop the lot o’ them. Every single arsehole in tights, you do’em…No one should be allowed to walk around with what they’ve got, it’s just too much of a risk.
Butcher to Mallory, Issue 55
As far as Butcher’s concerned, any super-human of any kind must die. It doesn’t matter what he/she did or didn’t do. It doesn’t matter who that person is, if they were born with the powers, or if Vought injected them with the DNA-altering chemical Compound V to create those powers. If a person has powers, they deserve to die. Mallory even warns Hughie to watch his back around Butcher, because for Butcher, this personal war with the supes is never going to end.
There is no one on earth who hates like that man does.
Mallory to Hughie, Issue 55
I’m not going to tell you how far Butcher will go in his personal war–I’ll let you find out via the comic series or the upcoming TV show.
(Warning: the trailer’s pretty true to form with the comic, so carnage and cussing abound. Only watch if you can handle that sort of thing.)
Antiheroes are compelling because we really, honestly, truly do not know what they’re willing to do in order to fulfill their code. There’s a level of wretchedness we expect heroes will not sink to; there’s a level of goodness we expect villains will not aspire to.
But antiheroes don’t give a shit about reader expectations or presumptions. They will do whatever it takes to reach their goal.
And readers cannot help but follow, compelled to discover what goal could be worth such a path taken through the shattered demarcation between good and evil. With every step taken readers’ feet will bleed upon the shards, and like the antihero, readers will complete the journey…but will never be the same.
~Stay Tuned Next Week!~
More interviews with authors both indie and award-winning are lined up for your enjoyment, as well as a journey with Bo and me into the mysterious North Woods where a ghost stands, lonely and waiting. On top of all that, I’ll be taking you into the Wild West for some fantasy adventure. Bullets and magic will fly…just not to the Will Smith song. Pleeeease not to the Will Smith song…
Oh, and just to toot my own horn for a second, I’ve written my own batch of flawed characters with their own Points of No Return to cross…or not.
Happy Thursday, everyone! I’m please to introduce you to J.D. Stanley. He’s an award-winning fantasy writer of novel and script as well as a Bardic Druid of the OBOD. It’s an honor to share his thoughts with you today on this, the writing life.
First, let’s talk a little about your background. I see you’ve done some work on radio and studio engineering. That’s so neat! It reminds me of Celine Kiernan, who spent years as an animator for Don Bluth before beginning her own writing career. How would you say your time with language-aloud influences your language-written?
It really was a neat experience. What a blast for a day job! Studio engineering and writing were the reasons I went into radio broadcasting in 1986. For a creative, nerdy introvert, all the behind-the-scenes stuff was super appealing. Audio engineering is a singular, unique avenue of creation – all you have are the sounds to build a world. I still love it. Without solid writing, though, no matter how good the production, it won’t sound realistic. Writing for that still makes me hyper-critical of my dialogue and narration today.
When I studied Radio in college, there was
a great deal of focus on learning to write words meant to be spoken – so
commercial copy, radio plays and show scripts. And the flip-side, how to speak
that writing, too. The point was, to craft something that didn’t sound scripted
even when it was. I was lucky enough to get picked up by a program director who
heard some of my freelance work and jobbed-out halfway through. Getting thrown into
the deep end like that really hammered it home. Knowing listeners would hear my
writing live shortly after I put the words down or a sponsor would pay more
than tens of thousands of dollars as soon as I produced or voiced a spot was…
terrifying. Nothing like having your feet to the fire to hone skills. Those lessons
will never leave me and my continued voiceover work as well as coaching written
and spoken communication keeps it fresh in my head.
I would say, all that time with language-aloud
makes me remember to read my writing outloud to check with my ears for
believability. The human ear is extremely sensitive to the naturalness of
speech, the nuance of humans speaking, and it strikes you when it’s fake. In my
opinion, it’s the best gauge a writer can use to check not only the flow, but
human believability of what’s written. I think it can help us make better
connections with our readers. If we can reach them as another human, be
accepted as a companion on a journey with them, we can connect. And when we can
connect, then what we write can mean something to them. But if we sound like
their Lit teacher? Dude, that’s just not gonna happen.
I once attempted a bit of screenplay writing some time ago, and…okay, not going to lie. I stunk at it. What challenges do you feel are unique to screenwriting as opposed to novel writing? What advantages? Do you have a preference between the two?
I really don’t have a burning desire to write screenplays daily and do prefer novel writing. I actually prefer fixing other people’s work, being a script doctor, over writing them if I’m being totally honest. I enjoy helping other people’s words work better. A script doctor gets no credit and most people don’t even know that’s a job.
There’s a specific pattern to the storytelling
in screenplays aspiring screenwriters need to learn. If you want to be a rebel
and not do it that way, that’s cool. But understand, that may be the reason
you’re not selling anything. It may be an interesting concept, for instance, so
someone takes a peak. And then they’re judged on a single page where there’s
supposed to be a predictable beat and it’s missing, so their work gets
round-filed. Or they don’t know the first thing about proper format and think
their story is so extraordinary everyone will look past that and give them gobs
of money anyway. Or they can’t write a logline to save their life, so no one ever
goes past the logline to read the script. Or they’re actually bad writers operating
under the delusion it doesn’t take good writing skills to write a screenplay.
I’d tell anyone thinking that screenwriting
is a cool career choice… First? Understand the chances of selling one are slim
to none. Once you get over that, you can move on. Practice the shit out of your
writing and, especially, educate yourself from film industry professionals. Study
books like Blake Snyder’s Save The Cat, read their blogs and absorb a
crap-tonne of successfully produced screenplays – there’s a million available
online – so you can see what it takes. And forget all those no-name Internet
screenwriting contests held by genre enthusiasts who aren’t writers and don’t
know what goes into a decent script. Sure, you’ll get something to put in your
credits. But winning a contest not hosted by industry professionals isn’t
validation of your talent as a screenwriter. If you thought it was? That’s
probably why you aren’t selling any scripts after the contest is over. Pick
contests held by actual screenwriters, directors and producers. They know what
they’re looking at. And a lot of them include feedback in reply for free even
if you don’t place. They’ll be harsh, you’ll hate everything they tell you and will
probably make you cry, BUT they’ll tell you exactly what to do to your script
to turn it into a saleable product. Use them as your university.
You’ve quite a rich variety of favorite authors shared on your website. Do you think you can pinpoint which author and story first sparked the passion for storytelling inside you, and why you think it was that story more than any other?
No, I can’t say there was any single author or story that sparked it for me. I could read and write before I started kindergarten, so was a bit ahead in that area and when I started writing my stories down consistently from when I was about nine, I hadn’t read any of those authors yet. My first love was sci-fi and that’s where I started writing, so maybe Gene Roddenberry was probably my earliest influence? I grew up on Star Trek in the ’60s, though didn’t know him as a writer at the time.
When I was about twelve, I’d read
everything I was allowed by that point and got special permission from the
local library to have an adult library card, so I could read more books. Real
books. Normally, you had to be eighteen to have one of those puppies. Then I
read everything in the adult fiction section. And all the poetry books. And
then went through all the reference books. You want to know the depths of my
nerdiness? I do, in fact, still relish the secret thrill of reading
encyclopaedias and the dictionary for fun. Not even kidding. Back then, I read
so fast, I started at one end of the adult section and used to take out thirty
books at a time. Just clear them off the shelf all in a row, any genre, any
author, and bring them home. I read one a day, sometimes two, and read every book
from one end of the library to the other. Hence the massive list of authors.
Sad as it is, I couldn’t even tell you who the rest of those fiction authors were, but I remember the stories. When I was thirteen, I read the John Jakes saga The Kent Family Chronicles and I think I can say around there was when I realised I had an affinity for historical stories. And then after ingesting more books, I fine-tuned that down to historical fantasy for what I most often prefer to write. Reading for pleasure, though? Just about every genre as long as the story is good. I wish there were more gunslinger books. What an under-represented genre.
Out of that ocean of stories, three will resonate with me until I’m dead – Robin Hood, The ThreeMusketeers and Don Quixote. And overarching all of them is The Crystal Caveby Mary Stewart and all Arthurian legend. I’m a total junky. And, of course, Lord of the Rings. Definitely a common theme. I’d like to think that says something about my character, but probably more what I would hope to aspire to and will never achieve. I think I was born in the wrong century. New things, like technology and science, fascinate the hell out of me and I continue to love sci-fi. But old things and old centuries make me feel at home.
If I understand your writing process correctly, I get the impression you’re something of a “pantser”—one who doesn’t plan out a story, but runs with the story as it comes. How on earth do you balance the madcap writing this method requires while also having kids? I got three, and there’s no way in Hades I can focus on my own story when they’re crashing Transformers and Enterprises into the land of Care-A-Lot.
Well, nowadays, my four kids aren’t little, so I’m at a different stage. Though every stage comes with its own unique challenges. I also no longer drive due to my cataract, so have built-in writing time while commuting everywhere which I use to my advantage.
The ability of life to persistently work to steal our focus never ends, though. I just got the kids all self-sufficient and almost out of the house (two down, two to go!), but now have different roadblocks. My dad has declining dementia from a brain injury sustained from a fall, so now? Two of the kids still need me for some things, and alternating between being with my dad at long term care after work until about midnight, and travelling an hour-and-a-half across the city to look after my mom and helping maintain their house. I’m basically writing long-hand wherever I can get it in and it’s weeks before I get to sit down to transcribe it. Or I’m doing everything on my phone and tablet on the go. It’s not the way I prefer to work and it’s slow, but it still lets me get it in there. Because I have to do it or my brain will explode!
When the kids were small, though? Honestly,
if I was a different person and they were different kids, it probably wouldn’t
have worked. I’m a super analytical control freak with troop movement-level organisation
skills, so there’s that. Okay, and a life-long insomniac, so have more awake
hours at my disposal than normal people. My most productive writing time is midnight onward, so it actually worked in my favour when
they were little. I used to go to bed at 7:30
or 8:00pm when they did and woke up at 12:30 or 1:00am to write.
I also got the laundry and cleaning done then to leave me free time to focus on
the kids in the day – every time I got up to make a coffee, I did one task. Once
a month I planned all the meals and snacks on a chart that I made shopping
lists from so I wouldn’t waste time or money. Sundays I cooked five full
dinners and parcelled them up in the fridge with labels on them to save time in
the week. I wrote a lot long-hand sitting on benches waiting for them to finish
swimming lessons or martial arts or whatever else I had them signed up for. Somewhere
in there, I cranked out five full first draft novels. I didn’t go on trips. I
didn’t go out. My entire life was kids and writing or consignment art. And I
was totally okay with that. Someone else? Maybe wouldn’t be.
I have very clear priorities. I’m also very
clear on what I’m willing to sacrifice. My mother wasn’t ever a well person, so
I learned early how to squeeze in things I really wanted to do between looking
after her, raising my two sisters and working part-time to help my dad. I
already had the experience when I found myself in the position of being the only
parent of my own four kids.
Okay, so the “pantster” thing… I can say,
with all honesty, I’ve never “pantsted” anything in my life. Being this
consistently, incredibly busy, most times? There’s no opportunity to write plans
down. But let’s be honest, a lot of the kid stuff wasn’t rocket science and it
left my brain free. So I trained myself to do it in my head. All of it. All the
figuring out, all the plotting. By the time I had a block of time to sit down
in front of a keyboard or with a pen and paper, I could just write my ass off.
All my “outlines” start the same way – with a super-descriptive hinging scene,
usually the story conflict or premise, with an important exposition of the main
character. It’s my brain shorthand for the whole story, a memory trick. Then I
start telling myself the story – the who, what, where, when, why – and it
morphs into the opening lines and I just keep going. The story is already done
in my head and I’m basically transcribing by that point. I do it that way now,
because that’s how it needed to happen then or it wasn’t getting done. And it
not getting done is unacceptable to me. Since I still don’t have a lot of time,
I’m still outlining in my head. At least when I have stolen moments, I can write
like a demon and not have to waste time plotting.
Wisconsin’s landscape has a been a HUGE source of inspiration for my fantasy fiction. Your first novel, Blood Runner, is set in Canada—just like you! Do you find yourself utilizing special places from your life for settings in your stories, or is the landscape itself a muse?
I’d say it’s more the landscape that’s the muse. There’s a few countries I have a huge affinity for, for no particular reason, though more in the historical sense – ancient Ireland, Britain, Rome, Egypt, Sumer, Japan. I’ve studied a lot about them over time, so have a lot of fodder in my head for inspiration. I can’t go to those places, because the ancient versions I want to visit no longer exist. So instead, I use them to write from. Being immersed in one of those places is like taking a visit back in time to me. It’s cool, like owning your own time machine, y’know?
In the grand scheme of things, Canada isn’t that old and doesn’t fit in with the
affinity I have for some of those other ancient places. But the forests here are
old and I do love that. The trees and rocks have been around a very long while.
There’s forest here with trees hundreds of years old and the Canadian
Shield is right underneath us and that’s been there since the last
ice age. How cool is that? I’ve spent a lot of time in the forests, so love to
write about them. Thinking about them is uplifting to me. I’m big on nature overall
and love to write longhand outdoors when that’s possible. I find that very
inspirational, sitting outside under a tree scratching words out.
What kind of research do you do, and how long do you spend researching before beginning a book?
Well, I’m a research junkie, so I’m doing research all the time, often not even toward a purpose, but because I love it. I have so much useless information in my head. So, the length of time I study is moot. With that much constant input, my subconscious has a tendency to make connections between seemingly unrelated things while I’m busy with life. When one of those connected circumstances bubbles up, that’s when I sometimes do extra research to fill in the holes. I can’t write about anything until I can speak about it with authority and I need to have it all in my head before I start. It’s what we do as writers, isn’t it? Become forty-eight hour experts on anything from rocket science to earth worms. When I know enough, then I write. To get to that point could be a few weeks, but could also be years. Since I don’t work on only one story at once, it’s always in rotation.
I do a lot of book studying, but depending
on what I need, also do practical study. Fight scenes or any hand combat, for
instance, I do, in fact, act out to make sure they’re plausible. I’m lucky, because
my eldest son does stunt work and is a multi-disciplined martial artist,
swordsman, archer and edge weapon aficionado. He helps me physically block out
my fight scenes for authenticity. I’ve done an extreme conditions survival
course where they drop you in the forest in the middle of winter and you need
to build a shelter, fire, find food and the like. I love camping and living off
the land and know how to fish and clean animals and find edible forage. I had
an organic garden when the kids were growing up, but it wasn’t only that – it
was major practical study. I read up on everything about crop rotation, pioneer
techniques for vegetable gardening, organic pest control and composting,
practiced it everyday, became a Master Composter, and tracked the results and
weather patterns complete with sketches in a large binder over all the years I
had it and still have that research data for reference. I also study, make and
use herbal remedies myself, so that’s ongoing, and have a great interest in
living off the grid, so currently practicing those behaviours as I work in that
direction. Over time, anything I needed to know about, I taught myself and
picked up that skill from jewellery-making to calligraphy to hand quilting to
home renovation to ceramics to building a hydro generator in a stream.
When the zombie apocalypse happens and it’s
end of times? You can come with. I plan on building a town. Only people I like
get to live there. 😉
I also find it interesting that you created a fresh take on vampires. How much research did you do on vampires before choosing the path you took for Blood Runner?
I’ve been a big Anne Rice fan for a long time and loved Bram Stoker’s Dracula, but actual vampire research for that story? Zero. Is that bad? I had actually been stuffing my head full of Ancient history and mythology from Egypt and Babylon for another story. And me being me, kept going backward in time, because for whatever reason, it became important I got to the root mythology and first organisation of city-states and society. That history fascinated the holy crap out of me and still does. When I studied the bits of translated mythology available at the time (there’s more now), I couldn’t stop. For whatever reason, I couldn’t leave it alone.
There’s a myth about a man who cannot eat or drink. And in their mythology, a dead body can be reanimated by the Water of Life – blood. To me, that sounded like some kind of proto-vampire. I stitched elements of a few myths together to create the premise. Gave him a nemesis, a real historical figure in the invading Akkadian king Naram-Sin who was painted in myth as pure evil and cursed by the head of the pantheon. The Great God Enlil’s disdain for humanity was so well-documented as was a whole soap opera of inter-family pantheon conflict, the story told itself. It turned into a tale of mistaken vampire identity.
I still have so much story left that never
made it into Blood Runner, a whole universe. I think once I’m done getting it
out, it’ll lose its association with vampires and people will see what it
really is. Vampires are cool and I love them, but that’s not the story focus,
so I really didn’t need the depth of research in that area I might have
otherwise. It was only a device.
Your latest book, The Seer, is about a Druid named Bronan, and I see you yourself are a Bardic Druid. I would love to hear how your spiritual nature influences your writing; or, would you consider your storytelling to be its own “faith,” as it were? I can’t help but ask because I myself am a Christian, but I rarely include elements related to faith in my fiction. Severed Selves, you could say.
I don’t think I can separate those things, because it’s both – inspiration as well as the storytelling being its own brand of sacredness, since words come from the soul. I’m lucky, from the fantasy writer side of things, because Druids and magic are popular story topics with readers. I know a lot about modern Druids and history and mythology, so can speak with some authority in that space. Besides, people love that stuff. And why not? I’m just like everyone else – the ancient Druids are just as mysterious and fascinating to me, because there’s really so little known about them. And magic is, well, magical!
I write foremost to amuse myself and being
immersed in those magical worlds is escapism. Right up there with dreaming of
flying and imagining we’re superheroes when we’re kids, right? I mean, it’s a
sad fact that the more life imposes arbitrary boundaries and traps us in expectations
and responsibilities, we lose those dreams. It’s limiting. I think we need to escape
into times of unfettered brainspace to balance off all the other crap. Druidry
is the continuous responsibility to keep balance on a cosmic level and this is
exactly the same thing to me. When we can immerse ourselves in a world where
those boundaries aren’t grinding us down, even for only the length of time it
takes to finish reading a story, we can regain some inner balance and
perspective. As a reader, I love that. And as an author? I consider it a public
Words are my medium as a Bardic Druid, my
divination, and how I connect with universal consciousness. I walk the path of
knowledge, so seek out universal truths, those things that are real and true for
everyone. That’s where we all connect, so goes hand-in-hand with taking a
reader on a journey. A lot of my writing to amuse myself is speculative, where
I’m figuring these things out and pushing down my own thought barriers. As a
Druid, I embrace the responsibility to maintain balance, speak the truth and especially
to oppose injustice and be an agent of fairness for everyone around me. I’ve
been told that makes me some kind of throwback, dying on a hill of my own moral
code, and they may be right. But to me, treating people right and standing up
against wrong is simply the right thing to do and not because of a prize at the
end. I know all this stuff influences my writing and you can see it leaking out.
In the sense of all that, being a writer is more than a job to me. It’s rolled
into my spiritual path and there’s no way to tell where one ends and one
I think the biggest influence on my writing
is probably hyper-awareness about what I’m capturing in words. To me, words are
so much more than only letters arranged on a page. The writing should be real
and true, should be honest, and should allow us, as human beings, to meet there
on common ground. We can laugh together, get riled-up together, cry together, I
can lift people up and that’s all about keeping balance. Speaking about
injustice within the confines of a fictional story is giving voice to it, but
in a way less uncomfortable to explore. I can write about universal truth. Or
that, in fact, we’re all the reluctant hero, working through our own
myriad life crap and evolving as we go while learning to step up about bad
things even when we don’t want to. It’s easy to relate to, because we’re all on
that same journey. In that way, we can connect with people we’ll never know on
a very deep, emotional level. That’s so powerful, y’know?
Magic is simply intention charged with our own energy and that’s carried into writing for a writer. From our perspective, there’s an element of sacredness to it, because we do, in fact, tear those words out of our soul to get them on the page. Whether we know it consciously or not, that ability through writing is the greatest magic there is. If you want to get super existential about it… From that perspective?
Lastly, do you have any tips or encouragement for your fellow writers?
Wait, yes. If you’re not already lost down
that road, take an ice cream scoop and dig out that part of your brain telling
you it’s a good idea and go get a real job. You’ll thank me later.
Seriously, though, remember you’re playing
a long game. If you’re doing it to become rich next week and can’t understand
why you’re not famous after your first six months? Take your ball and go home.
While that would be lovely, that’s not the reality for most writers. You really
do have to do it, because you get something out of it, out of the creation. You
have to do it, because it makes you sacrifice for it and you don’t care about
that. You have to do it, because you can’t think about not doing it or
you’ll go insane or die. If that’s not where you live? Adjust your sails and
get that ship on course. And newsflash, you have to actually love writing or
you won’t stick with it through the length of time it takes. I’ve seen some
“writers” who apparently woke up one day and thought they’d become famous and
make millions of dollars at writing after having never written a day in their
life previous to that. They thought it looked like an easy gig. *Cue massive
I’ve been a working writer, writing every
day, mostly for others and getting paid for it, for over thirty-five years. Did
it make me famous? Nope. It kept the lights on and bought groceries and clothes
for the kids. And yet? It’s fantastic to me, because I made money doing the
thing I love the most. How many people can say that? With the kids now grown, recently
I shifted to focus on only my writing and that new reality takes time to build.
No matter how much previous experience I have, it doesn’t matter. I’m fully
prepared for the length of time that comes with creating a new reality. You’re
no different coming in thirty-five-odd years behind me. Creating any new
reality takes time and that’s where you have to live in your head every day. My
goal now is the same as when I started back in college – do the thing I love every
day and aspire to make that my entire supporting income. If you don’t, you’re
going to have a lot of heartache and frustration. I think that’s a solid,
realistic and attainable goal adjustment for new writers to make.
Ask yourself if you want to be famous or successful – they’re two very different things. Thinking about becoming famous is setting yourself up for disappointment. Think about becoming successful instead. Don’t waste energy on whether anyone else is getting famous or rich before you and put all your focus and energy into honing your craft. Other writers aren’t your competition, dude, they’re your compatriots. Stop worrying about their pay check and worry about your own. Good writing means you can get paid, so never think you’re a good enough writer. That self-doubt can be your continued catalyst – it makes you extra careful about what you’re putting down there on the page and prevents you wasting time churning out garbage no one’s ever going to give you money for. I live in a constant state of terror myself. LOL If you keep your head down that way, you’ll end up becoming a polished, hard-working, consistent producer which is exactly where you want to be even if that magical fame unicorn never makes a stop at your house. Plain and simple, success takes hard work and hard work produces better writing.
It does indeed, JD. Thanks so much for chatting with me!
Welcome to July, friends around the world, and Happy 4th to my fellow Americans!
Yowza, July already! June whipped by thanks to summer school for the kiddos. Biff and Bash have been doing a class to help them get ready for 1st grade, which means time with the three R’s and some extra socialization. It also means me going through all their kindergarten work to pack up the most memorable bits, including their writing. After going through their pieces, I couldn’t help but ask Biff and Bash about their favorite work.
For a girl reticent about meeting new people and trying new things, it was a bit of a challenge getting Blondie to participate in summer school. With the bribe of a computer gaming class, I was able to sign her up for photography and geocaching. Lo and behold, she’s found those courses way cooler than playing ol’ computer games!
For some, summertime means going on adventures in far off places. But my experience with Blondie in the Horicon Marsh was a beautiful reminder that one doesn’t have to travel far to escape to other worlds.
So often we think we have to travel miles and miles to escape the humdrum.
We presume the truly fantastic is beyond the horizon, just out of reach.
But if we take a moment to step outside, we might just discover adventure awaits us in the here and now, be it in the nearby marshlands…
…or with the imaginations frolicking in our own backyard.
What are your imaginations up to this summer? Any recommendations of fun daytime-adventures with kids? Let’s chat!
What follows is a continuation of my previous two installments of free fiction–a dialogue between me and Wynne, a character from my Shield Maidens of Idana fantasy series.Today we learn more about The Man of the Golden Hound Crest and his dangerous power over Wynne’s household.
What would you consider to be your worst defeat?
An easy choice. You may disagree with me later on, but I promise you, here lies the root of all present sorrows.
But I cannot speak of it in the open….surely not in my home. It is midday, is it not? Then the water mill is no option. Wild Buddug meets her sweetheart there for the next few hours, and one accidental intrusion is quite enough for me, thank you.
Caddock’s warehouse will be filled with loud talk and eyes far keener for lifeless goods to protect—or steal, depending on how you see it. Let us leave the market and follow this alley, here, the one where someone carried their slaughtered pig too close to the wall. The blood has gone dark, but is still there, you see it? A curious stripe against the daub. Normally animals do not walk this way, as it is too narrow for even three people to walk together, and the roofs nearly touch over head—it feels close, does it not? Like a chest left open by chance, and by equal chance will be slammed shut upon you. It is a dare to walk this way, and a relief when the walk is done. But this alley takes us from Market Street straight to Stock Street, where Lord Murchad built his warehouses. This is not a place to come friendless, I promise you, and while it is indeed highly questionable for a young woman to be roving about where thieves and murderers and the occasional honest man make their living, I have earned my immunity through Caddock’s friendship. No one here, of good or evil, crosses Caddock.
Through the front door, are you mad? That, that wretched man, his, his eyes follow us even now. No no, come around, where the cart horses graze. The parked carts make this pasture an ever-changing labyrinth, and there, see it? Galene flows nearby to keep us company. Let us use this covered cart with mud still wet upon its wheels. Yes, I know, it is the smallest of group, but it is also the least likely to be called upon in the near future.
Now, you spoke of defeats. Mine comes from no battle. The battle never had a chance to begin.
It took place not long after the Man of the Golden Hound Crest had found Morthwyl and me among the orpines. I did not dare walk north for the next few days, not even with the Galene strong and silent by my side. I feared beheadings, I feared death on the cusp of tasting life upon the lips of my Morthwyl.
Thank the gods for Market Day! I sat without complaint among my sisters in the garden, eyes fixed upon the road beyond the fence. My notes were soft and rarely in harmony, but I received no chastisement, as all my present kin were just as keen to watch the arrivals. Two large barges had arrived, and Father paraded proudly with their owners past our home and on toward the market. Furs and velvet, perfumes and fruits—bah! Mud clings to silk as well as homespun, I voiced with low, harsh notes upon my flute. When the last of Cairbail’s barge-oxen carried what appeared to be a dead stone monster with a horn upon his snout, I saw them: Morthwyl walking obediently behind his father and elder brother. Their smithy cart was compact and efficient, requiring but a few loads of firewood throughout the market hours to fuel the forge. That would be Morthwyl’s duty: he would move down Farmer’s Alley to the town’s edge where farmers often left cords of wood for convenience. They knew him, liked him for his father’s skill, would offer him a chance to sit, eat a bit of sops, and I would be there waiting…My flute sung as the skylark from me, eager to hear Morthwyl’s whistle in return.
But then bells jangled out of my sight, their harmonies discordant.
I caught back my breath and fixed my eyes upon Almedha as though awaiting some cue to play anew. Oh, Morthwyl, did he follow you all the way here? Has he spoken to you? Oh to hear your thoughts and know your safety! But I dared not look. I listened instead, and knew by the rhythms of their footfalls that they moved without haste. Nor did their cart house whinny in complaint. If she, an old thing, was at ease, then it was quite likely The Man of the Golden Hound Crest merely walked behind, please Galene he only walks behind…
The Man called his beast to hold before our gate.
The stallion loosed dark clouds from his nostrils. I thought of forge smoke, full of embers that burn the unthoughtful, how the sunlight upon the golden hound would surely burn the eyes of my sisters and turn them blind to all but wealth.
Cordelia audibly gasped and broke her flower wreath. Morwenna dropped her lyre and whimpered as she threw herself to the ground and fumbled herself into a new, ladylike position on the grass.
The Man dismounted, not once minding mud upon his black polished leather or his scarlet cloak. Sunlight fell upon his ringed hands as he gathered up the reins…
And my sisters’ Contest of Sly Accidents began.
First Isolda. She filled the air with a scream and cried, “My finger, surely the needle has pierced my bone!”
Next came Morwenna, who stumbled up from the grass and fell again. “Oh sisters, my ankle, surely it is broken!”
The Man led his beast to our fence and tied the reins to a post.
“Sisters, my week’s work will surely be ruined by the blood. Please, help me!”
“But my ankle!”
Cordelia clung to her broken flowers as her eyes searched for the pruning knife to slice a bit of flesh . Scoff all you want, but I would put it past no sister to cut off a hand for the sake of a wealthy suitor’s attention.
“I am sure to faint upon this sight of such bloodshed. Will someone not catch me lest I fall?”
“If only some kind-hearted soul could carry me to my room!”
“What in Hifrea is all this?” Mother burst forth through the door. I found myself watching the cake crumbs leap from one neckfold to another and down to her chest. “You know how noise up…sets….me.” Mother lost all control of her jaw, letting it hang complete open as The Man stood at our gate’s door, one fist upon his hip while the other swept the air before him.
“Madame, is this the most excellent house of Master Adwr, Trader Extraordinaire?”
How his golden chest did glitter, and his hair did shine! Almedha moved towards the gate as if in a dream. Isolda’s finger bled freely upon her skirt, and Morwenna’s ankle miraculously healed as she stood to move but a step closer to him.
“Y-yes, why, yes, yes it is, Good, Gentle, Sweet Sire,” Mother hopped down and to the side in such a bow no body her age could possibly fulfill without the utmost willpower.
I see your face. What was I doing in that moment?
The same as this moment: sitting.
Hush, someone’s coming…
Who’s out there, Caddock?
Thank the gods, His eyes haven’t come round yet…no, not Caddock, or his men. I tell you, I do not fear the men who work here. No, it is…there is always one of his…no. I cannot call them men. I’ll call them followers. There’s always one of them skulking about Cairbail. They never fraternize in the market, or drink by the docks with the other free men. They only move, listen, observe, and vanish. Life dims in their presence and closes in upon itself as a flower in night’s chill.
Did I close up when The Man of the Golden Hound Crest came through our gate? No. I changed nothing with his arrival. I did not stand, or even cease to play. What did I matter? I was not of marital age, and clearly, all my sisters were more than willing to meet whatever he envisioned as an ideal wife.
How foolish I was.
“Madame, I must confess to you that I committed a great sin against your husband.” His face contorted into such pain and sorrow that my mother looked ready to hold him to her bosom and weep upon his hair.
“Oh Sire, surely no such sin exists, but merely a misunderstanding to be easily expunged.” She curtsied, arms open for her own unique business. “I am Mistress Ffanci, wife to Master Adwr, and can speak with confidence on his behalf that the only sin in business is the unpaid service. And surely, Sire, you are one who would never commit such a sin.”
His face altered again, this time to ecstasy. I did not like how his face changed so quickly, like an actor with a table of masks at his side. “Ah, Madame, you flatter me. I am but a simple businessman, no different than your husband, and nowhere near as blessed as he with beauties to call my own.” His eyes shone with as much gold as the rest of him, and when they fell upon Almedha, I heard Morwenna moan in envy.
“A man of, business?” Mother blinked away her tears of elation. I could see her mouth turn about the word “business” as one tests a bit of fruit to see if it is spoiled. Would Mother’s talent for scrutiny save us? Surely she could see that no mere trader amasses such wealth, let alone parades it without reason. “Wynne, cease that infernal noise at once in the presence of such company.”
I did so with eyes down. “Yes, Mother,” I spoke hoarsely, and coughed. No one wants to admire a sick girl.
“Ah.” His boots approached the hem of my skirt. His gaze burned as summer’s sun upon my hair. “A lovely name for a lovely face.”
Isolda gasped. Cordelia whined, “But what about—”
“Sssss!” Mother’s dress blew closer, and I could see her hands shaking as they lay folded against her girdle. “You, you know my daughter? Then I must apologize for Wynne’s rudeness, as she said nothing of—”
“Dear Madame, lay no blame upon the child.” He bowed low enough to grace Mother’s hand. I liked not ring that sparkled on his ear. “My guards found her in the forest, and surely frightened the memory from her head. They are forever armed with the most terrible looks upon their faces.” He politely put his lips to her hand, then turned to me with a smile.
He said nothing of Morthwyl.
His words were enough for Mother. She laughed with total ease, and said, “May I present the older daughters of Master Adwr to you?” My sisters formed a curved line next to me and curtsied in due course with their names and smiles. But the look of him, the way he never spoke of the boy I was with, never uttered Morthwyl’s name, of which I had no doubt he knew…I felt as though he already had a trap set for him, for us, and with one false step we would all be ensnared.
“Surely, Sire, we can speak more of business, sins, and beauty this evening with Master Adwr. Would you care to dine with us?”
He joyfully accepted, and departed with just as much ceremony and wistful gazes as his arrival.
Almedha promptly clocked my ear. “You might have said!”
“I didn’t!” I spat back. “I’m not old enough, and please, please think: is it not strange he never shared his name?”
“You wanted him all for yourself!” Isolda hissed.
“Because you,” Cordelia said with a swift kick to my leg, “were supposed to tell us.”
“He never spoke it!”
None of them believed me.
Please tell me you ran off for, like, the next several days. This guy just screams “bad news.”
No, he never screamed “bad news.” If he had, even Mother might have noticed and reconsidered a more intimate acquaintance. I doubt my sisters would have minded, though…
No no, I meant…oh, forget it. I’m assuming he didn’t forget the dinner date.
If only he had!
Never has my house been in such an uproar. No other suitor existed accept Sire. That is how my sisters referred to him in their rush from room to room, harassing Heledd and Ysball as they purred, whined, hissed.
“That’s my girdle, Morwenna!”
“But who will braid my hair? Mother, my hair will be dreadful for Sire and he’ll never look upon me again and I’ll simply die!”
“Isolda, please, pleeease take it in another inch, I can hold my breath!”
“Where is my brooch? This old thing must be yours, Wynne.”
“Now girls, as an army prepares together to conquer a new land, so must we all work together,” Mother called from the living room, finger ever ready to pinpoint a command. “Isolda, surely you have some ribbon we can work round Almedha to tighten the dress without alteration. Cordelia, go to Heledd, your hair must, be, perfect. Morwenna, give Cordelia back her girdle and polish both lyres. Cordelia, make a crown for Morwenna’s hair, then yours. Wynne…” Mother’s finger froze right between my eyes. I watched her nose pinch, her lips twist.
“Help in the kitchen?”
Mother snorted. “You would like that, wouldn’t you? To live in the dirt and dust as a servant. Off to your room! Morwenna, give her your second-best dress.”
I heard her still as I changed: “Master Adwr, at last! You simply must hurry, we are all on the cusp of disaster!”
“Oh my, don’t tell me Morwenna’s lyre strings have broken at last? That would certainly be a disaster.”
“Don’t you dare joke, Master Adwr! A trader bearing the crest of a golden hound, yes a golden hound, such detail, such perfection in the stitches, a businessman of such wealth that any king would envy him has come to this very house, and complimented your daughters, and will return to dine in our house tonight! And all this would be for naught had he not sinned against you in some fashion. How could you not tell me such a merchant was in your acquaintance?”
“Madame Ffanci, I am most certain I know not of such a man.”
“Then what can he possibly mean that he has sinned against you, a fellow businessman?”
“My dear lady, I have not the faintest idea upon the matter. Perhaps it is he who altered the prices with The Yoruach as his wealth seems capable of dictating the ebb and flow of currency across several countries.”
“Oh but it is, Master Adwr. And that he should know Wynne, of all our daughters, and she says nothing of him! I swear, my husband, that the child surely is a changeling. She could not possibly be of my womb.”
Morwenna harrumphed in agreement as she polished her lyre with smooth, precise strokes. “None of us would have kept such a secret.”
“You’re…” I squeezed myself into the pale blue, pretending it the river Galene, but failing. The Galene would never choke the life from me like this tortuous device. “…welcome to him.” Delicate stitches depicting baby’s breath wrapped around the collar and cuffs. I could only hope they would be white still at dinner’s end.
Morwenna narrowed her eyes skeptically to me as she tossed her oldest girdle across the room. “I know what you’re doing, Mistress Hard-to-Get.”
“Morwenna, I’m twelve. He can’t marry me. I don’t want to marry him. Insult me all you wish at dinner. Mock me, make light of my inadequacies.” I felt the girdle press hard against my hips. Did my sisters ever eat? “I had no desire for his acquaintance before and still don’t.”
“Likely story.” Morwenna’s glare would not waiver, not even as I left the room.
Oh, how I yearned to sit at river’s shore and lay all these troubles among Galene’s stones! She’d whisk them away on her current to join with the toxins that wretched tannery dumped. But no, all I could do was sit in the garden, mindlessly fingering a hollow song upon my flute.
Chirps and squeals and bickering continued to fall from every window of the house. In time Father stepped out, his eyes squinted in concentration as he blinked once, twice, upon my countenance. “Wynne, your mother has told me quite a story. Is it true, what the other females in this house say about this phantom Sire?”
I lay my flute upon my lap. “It is.” I wanted to speak more, but feared what words would carry into the house.
Father sat beside me. “You think nothing of his wealth and manners?”
“I think them dramatic. As an actor for the theater.”
“Ah,” Father stroked his naked chin. “You think him a charlatan.”
“No. I…” How could I explain my fear without sharing the woods, sharing Morthwyl? More than anything, Morthwyl needed to be safe, and I could not trust my parents, who speak their thoughts with no consideration or restraint. “I do not doubt his wealth. But I do doubt his nature.”
“Were I only to know of your Mother’s words, I would be in complete agreement with you,” he said with a tired smile.
Oh, heart, still, be at peace! Do not quake the baby’s breath upon my chest. “You know more?”
Father nodded as he prepared his pipe. “A servant boy bearing a golden hound upon his chest approached me in the market today. He thanked me on behalf of his master for your mother’s gracious invitation and insisted to supply the meal since, as he said, his master’s home was not yet ready to entertain guests.”
“What a curious insistence,” I said, pondering how on earth the servant could know Father, let alone the sense of transporting a nobelman’s meal through the forest to our house. “And rude. If our means are too meager for his taste, he need not have accepted Mother’s offer.”
“I, too, have wondered this.” Father patted my hand and almost smiled, but a shriek from Almedha over a broken ribbon and a cry from Mother of “Master Adwr, make sense of this chaos if you please!” interrupted him. “I am quite certain, Wynne, that your sisters and mother are the silliest women in all of Idana.”
We shared a smile before he left. If that was what this Sire wanted, a silly woman who happily swooned at the sight of coin, then he was welcome to any sister. I would not swoon. I would not be silly. In fact, I would be so disastrously dull that all would think me doomed to live my years as an old maid.
I’d like to think this all went to plan, and that you succeeded, buuuuut then we wouldn’t be here talking.
Indeed, we would not.
Oh it began not unlike I imagined: refreshments in the garden while Mother called upon us to perform both individually and as a group. He bowed and applauded, provided every imaginable courtesy in his manner, and yet one thing remained absent: his name.
His servants also attended all in the garden and in the kitchen. Heledd and Ysball were more or less shooed out of the house to make room for his five servants, boys all Almedha’s height, all of wooden pallor and demeanor. They never smiled, they never joked. They merely blinked their green eyes and answered yes or no. Were they all of a family? Their features never changed from lad to lad, as though all came from the same womb at once. So very strange! My curiosity welled beyond control, and I felt compelled to create a test for them. After one song, I turned to the servant nearest me and asked him what he thought of our harmonies. He twitched his mouth, coughed, and said “Yes.”
“Yes, they are in need of improvement, or yes, they meet your ear pleasingly?”
“Wynne, do not tire the servants with your pointless talk,” Mother spoke through grated teeth. “I do apologize, Sire. Our youngest is not nearly so polished as the others, whom you can see are all well and healthy, with proper hips and quiet manners.”
“They are each as delicate and rich as a king’s rose,” he spoke with a swooped into a stand. “I see by my servant that dinner awaits us. Shall we?”
Such bows and curtsies and pleas for the other to go first—it is a miracle any of us entered the house before midnight!
His servants dizzied me with their slow, eternal loops around the table, the meat of freshly slaughtered pigs and chickens upon their platters, forks for all to use at their leisure. Olives, dates, strange fruits, cakes filled with honey, berries, mincemeat. I ate little, though my stomach grumbled for more.
“And that tapestry there?” Mother spoke and chewed all at once, firing bits of sinew in every direction. “Isolda’s at the age of ten. Ten, I tell you! Such a gift, we knew it the moment she touched a needle. But no one can fill a house with music as our sweet Almedha, and such a head for figures! Young Garnoc, who just took up his uncle’s shipping company, has been wooing Almedha for months, I think so his cloth-eared fool of a manager doesn’t burn through all his funds!”
“I’m quite proficient with numbers, as well,” Cordelia bowed her head, nearly knocking the cake platter from the lad’s hands. “I’ve studied with Father for many years, and I’m quite good with recording all the goods of a household.”
“But I’ve the best hips for bearing children,” Morwenna nearly stood up next to me, but Father coughed her back down. Gods know how far Morwenna would have gone then and there to prove this trait. “Mother says so, and our mother does know best.”
The Man leaned back in his chair, sipping little, eating less. “Every beauty here, absolutely ripe with talent. Madame, you are most blessed indeed! And yet, I have heard little said of your youngest.” He pointed his cup at me.
The silence was not only pregnant—I am certain it gave birth.
Mother chewed with a look I could only describe as consternation. “Well she’s not afraid of getting dirty—”
“There there, my dear, you’ve said quite enough about tapestries and hips to fill all our daughters’ minds for several lifetimes.” Father cleaned his fingers upon the table cloth and studied his wine. “Wynne is not like her sisters, nor is she of age.”
The Man watched Father’s face. “Do you mean to say your daughter is without talent?”
Father watched back. “Hardly. But since she fell into the Galene eleven years ago, she has had more sense than any other female of this house. If I’d known a few minutes of Galene’s waters in the lungs improved the mind, I would have thrown in the lot.” He passed about his cup as if to toast. He received gasps in return, including from me.
“Master Adwr, mind your tongue!” Mother laughed with daggers in her eyes. “My husband, he has such a humor.”
I dug through as much memory as I could, but I could not, with all my strength, find a moment of water filling my lungs. “You never told me I fell into the river.”
Father did not look at me or any of us. Something had dawned in his mind and caused him to smile. “But you were there. At last, I—” he set down his wine and looked upon The Man with new eyes. “I do know you, my humblest apologies. But it has been those eleven years, has it not, since I last saw you?”
By the Galene, never did I think I would see his perfect face crack! It lasted but a moment, but that moment portrayed fear, even some anger. The Man, whoever he was, knew vulnerability. Oh he covered all well with a smile and a laugh, but I have never forgotten that one moment where all looked ready to crumble. “And that is my sin, Master Adwr. To have lost contact with you since taking over my father’s business. I owed you a proper meeting when he died on a trip to the coast, but alas, my mourning threw all proprieties asunder.”
“Ah, that is all long, long ago. Surely you’re your father’s son. I cannot think of a clearer mirror than your face.”
He bowed in gratitude. Cordelia tackled the opportunity to speak. “But why was he present for Wynne’s drowning, Father?”
“She didn’t drown, Cordelia, lest we’ve been raising a ghost these eleven years. No, in that time you all often accompanied me along the Galene whenever I journeyed to the King’s Stronghold. Wynne was never one to enjoy the silks and spices, and often tired Heledd out as she explored the river, even talking to it. And one day, the day I was doing business with Master Prydwen, this Sire’s father,” he pauses to toast The Man, “we all heard Heledd scream for help. We run over, and what do we see? Little Wynne climbing up onto the opposite shore.” Father chuckled as my sisters oohed and tisked at my daring infantile impertinence—clearly, I was doomed from little on. Mother chewed through another cake with impatience. “Strangest thing. And you’d think that sort of experience would keep a child away from water. Just the opposite with little Wynne.”
“Perfect for a charwoman,” Isolda said with a glare before poking her tongue with an empty fork.
I was beginning to regret my request to Morwenna for a banquet of insults. I wanted only to sit by the Galene and think, and speak, and understand. “I see no need to pretend I’m better than I am.”
“No, you choose to pretend you’re worse, and I frankly find that just as distasteful.” Mother licked her fingers and patted his shoulder. “She’s far too much growing up to do, but no doubt she’d be a fine assistant to any one of her sisters in the house of Prydwen.”
The Man held his cup out, and a lad who carried meat a moment ago now held the pitcher of wine. “Your daughters inspire tears, Madame. Not only are they beautiful, but they are talented and humble as well. I must confess that I, too, yearn to have such a family about my table, to come home to music and beauty every evening as you do, Master Adwr.”
Father waved the wine lad aside. “You feel yourself ready for children, Son of Prydwen?”
The Man twitched, just as he had when I was fool enough to mention I had sisters. “Just, Prydwen.” His face fled into a smile. “I carry my father’s name. For the business, you understand.”
Father squinted a moment, then shrugged. “Of course. So, you think yourself ready for family?”
The easy manner returned. “Yes, I do. My manor is so very lonely with only servants and guards to talk to. But with the right companionship,” he raised his glass to Almedha, to Isolda, “life could be very,” to Cordelia, “very,” to Morwenna, “exciting.” To me.
I knew, in that moment, he had plans for us. And I wanted to be as far from those plans as possible.
I welcome any and all thoughts on Wynne, her family, Prydwen–any thoughts at all, really. Reader input rocks!
A collection of book reviews by Patricia Skalka — A Chicago native, life-long reader and author of "Death Stalks Door County," "Death at Gills Rock," "Death in Cold Water," and "Death on a Ferry," the first four volumes in the Dave Cubiak Door County mystery series.