#NaNoWriMo2019 #WritingLog: #writing a 6th chapter

Hello, friends! I know I’m slowing down a bit with this scene, but I did so want to give a bit of history and had no idea where else to put it. (If you want some context, check out the complete list of current contents for What Happened When Grandmother Failed to Die.)

Writing Music: Philip Glass, Metamorphosis

Chloe’s father blocked her halfway down the stairs. Light from the grandmother’s room faded against the second floor corridor until it was just as dim as the rest of the foyer. The grandmother’s presence, however, hadn’t faded, not at all. Go to the desk near the fireplace downstairs, she’d said. Take ashes from the hearth, and with your own fingers make the sign. She refused to watch Chloe or her father leave, eyes still transfixed upon the window where the owl and clawed its own mark. Do it now, before he finds a way inside.

Not that the owl’s mark made much impression on Chloe’s father. Already he was grumbling about Chloe’s love of music. “Your momma got you that job to help jumpstart your journalism career, not to write songs other people are gonna sing without even mentioning your name.”

Chloe slumped to a seat on the stairs. “I didn’t want it to be like this,” she said, voice hardly above a whisper. She clutched the hem of her skirt, so carefully sewn by her mom to help Chloe to look like someone who was on campus to learn, not serve. “I wanted to surprise you both. Play the radio and tell you, ‘I wrote that. That’s my song Brenda Holloway’s singing.” Through the rails of the bannister Chloe looked down upon the crow bones on display, the hung feathers, the child drawings. How many had been pinned to those places and left, unmoved, for years and years? “Some friends at WNOV, they’re going to set up a meeting with representatives from Motown after New Year’s.”

“Song writing. Jee-sus. Chloe, I…” Thomas Watchman bit his lip, breathed deep. Chloe knew exactly what he was doing: he was looking at her as if she was a clock refusing to wind. “When you reported what happened at the Black Student Strike in Madison to the Milwaukee campus, your momma and I, we were so, so proud of you.” He knelt upon the stair to see her eye to eye, to hold her hands in his calloused palms. “You were in living history. Do you have any idea how powerful that is? How important that is to preserve for your own kids and grandkids?” 

Chloe swallowed back a hard lump of fear. So chilled, these stairs, like the sidewalk Chloe fell upon that day. The car horns, the words hot as acid on Chloe’s ears…Even Gwendolyn Brooks, a Black woman white men awarded, was almost run down while talking to the students. Yes, Chloe wrote a report and shared it on Milwaukee’s Black radio. But the real fire came in the words Chloe wrote after, words for a song, a song to hear with a piano and a microphone in a smoke-filled room, where tables are sticky with booze and old stories and the floor doesn’t care whose shoes walk its boards.

Thomas Watchman gave his daughter a little smile to tug her back into the present. “You’ve got the words and the soul to take on all those white men who think they know what deserves to be recorded and read by our eyes. Well they don’t. You.” He brought their held hands up to Chloe’s chin for a gentle nudge. “You do.”

Word Count: 542 Total Count: 10,540

The Black Student Strike was a real thing at UW Madison, as was Pulitzer Prize winner Gwendolyn Brooks nearly being run down by a car. In this age of outrage and vitriol over merely not liking a YA book, let’s just take a moment to remember there are plenty of real battles worth fighting for.

Read on, share on, and write on, my friends!


#NaNoWriMo2019 #WritingLog: #writing a 4th #chapter, part 2

Good morning, friends! Snow falls gently outside my window now, but the storm of school work is not far behind. Let’s get right to it, and see what Chloe makes of the grandmother she never knew she had.

Writing Music: Kronos Quartet performing Philip Glass

Chloe finally relinquished her coat to the coat rack and followed the doctor to the steps, straightening her turtleneck sweater as she went.

“Is it not a pity, Miss…?”

“Chloe.”

“Is it not a pity, Miss Chloe, that such a treasure of a place be treated so?” He gave the wooden crow carved into the bannister a light tap with his pointer finger. “Everyone ought to be allowed their eccentricities, but this—” his eyes rolled at the dozens upon dozens of crow drawings. “–is a bit much, even for me.” He grimaced, reminding Chloe of an angry toad.

Good thing he started chuckling so she could laugh, even falling in step with him on the stairs. “Guess this explains why Mom never wanted a pet.”

“Ha! Indeed. Your mother is a history teacher, correct?”

“That’s right, Doctor…?”

“Artair.”

“Dr. Artair. Yes, she’s even applying for tenure at the University in Milwaukee.”

“You must be very proud.”

“Mmm.”

Thomas appeared then. Chloe waved down to him, and he waved back with a cloth wrapped around ice. He continued on to the living room, quiet now but for hushed voices and crackling flames. 

“I wonder, then, what she would make of these.” Dr. Artair used the stirring spoon to point at the crow pictures. 

The second level was only half a dozen stairs away. Only one lamp seemed to be shining out of side onto dark green wallpaper. One door closed, who knew how many hid from sight. One of those doors led to her. The grandmother who made her children draw nothing but crows… “She probably hated having to make so many,” Chloe said.

But Dr. Artair tisked Chloe’s words, and rapped a few of the pictures with the spoon. “Look a little closer.” 

So Chloe leaned in, eyes squinting to see whatever it was she was meant to see. One drawing was just a series of hard, crude strokes with a black crayon. Another was more like pencil, a bit finer, with some shading. One had a peculiar smell to it, almost like sulfur.

“The corners. Look to the corners,” Dr. Artair whispered.

And there, finally, Chloe saw numbers smaller than a fly, written with precise, perfect lines: 1893. 

Chloe gasped. “These aren’t all Mom and her brothers. These…” She thudded down the stairs and back up again, scanning row upon row of pictures, finding more and more dates. 1923. 1947. 1882. 1904. 1950. 1867. “She had to make more. Someone was always making them…”

Floorboards near them creaked loudly. Thock. A shuffling sound. Thock. Another shuffle.

Chloe looked over Dr. Artair’s shoulders to the top of the stairs.

They were no longer alone.

An old woman, draped in black lace and bent as a question mark, hobbled to the top of the stairs with a knobby wooden cane clutched by a gloved hand. Knotted locks of silver hair peeked out from the thick veil covering her head and shoulders. “Yes.” The woman’s voice seemed to claw at the very air between them. “A Perdido must make the sign to be protected. You.” She pointed the cane at Chloe. “You will make the next sign.”

Word Count: 527 Total Count: 7961

Gah, I hate interrupting a story, but I’m afraid we have no choice this week. I do hope you’ll stay tuned anyway–I’ve a lovely author interview to share, and Blondie wants to talk about her current projects. (Oh yes–she’s got quite a few manuscripts flying around!)

For a complete list of installments for What Happened When Grandmother Failed to Die, click here.

Read on, share on, and write on, my friends!

#NaNoWriMo2019 #WritingLog: #writing a 3rd #chapter, part 2

Ugh, friends, what a day. I was determined to help sort and clean the basement; in the process I found correspondence from my grandparents, old friends…and from my parents in the weeks before I married Bo. I was an emotional wreck much of the day, so it amazes me I managed to write at all. I hope you enjoy this moment with Chloe and her father, the return of Sumac, and the introduction of yet another peculiar character…

Writing Music: Kronos Quartet, “Sigur Ros”

Chloe nudged her father away from the sliding doors and crying men. “So that Reg guy thought I was a monster?”

“I, I don’t know.” Her father paused to take in all the crows drawn or stuffed around them. “Childhood’s always been off-limits with your mother. Eating habits of ancient Egyptians, treasured relics of Spanish monks, secret treasure hoards of Celts…” Thomas approached the coat-rack with the decorative nest on top. His hand moved along the brittle sticks into the nest. His face changed as he lifted something out: a buckle attached to a strap of holed leather too short to be a belt.

Now it was his turn to swallow back his thoughts. “Any history but her own,” he said, and tucked the bond into his coat pocket.  A low whistled song began in the kitchen. “Must be that Sumac. Let’s ask him about gas for the morning so we can get out of here.

Chloe paused near the base of the stairs to study the crow carved into the bannister. The carving was slow, methodical, precise–the same painstaking pace her father would take when rebuilding a broken music box. Music boxes, they are special. They’re like magic you can call back again and again, and see how this one’s got a tiny compartment for some lucky little girl to hide a treasure in? And little Chloe would nod, following her father’s large fingers move with the delicacy of a danger among the pins, wheels, prongs, and cylinder. She always wanted that magic on her shelf, in her room, but too often the magic was for some other girl living in a far cleaner neighborhood. But that magic’ll never come for song that don’t play. One loose pin, one bent prong–one thing out of place, Chloe. It takes one wrong thing to break it all.

Chloe held her fingertip at the edge of the crow’s beak–sharp, knife-sharp. 

A pricking in her brain made her pull her hand back as though wounded.

“Chloe, you okay?” Thomas took her hands and checked for wounds. “Amazed that thing didn’t blind that Reg fella as a kid.”

“N-no, it didn’t hurt me.” Chloe tried to shake that pricking inside her, but she knew it meant something. Even now she could feel the golden eyes, just a scribble, and yet, those eyes were hidden under a mass of crow drawings.

And yet, those eyes of a snowy owl were drawn and pinned in this house of crows.

Why?

But it felt too weird to say to her dad–at least, at this point, it did. “I’m just thinking about Mom being a kid here. I can’t handle it.”

The father and daughter hugged as a shadow watched. “If I had to grow up in a place like this,” Thomas said, “I’d see monsters everywhere I look, too.” 

“Would you, now?” Sumac leaned in the kitchen doorway, drying his hands with a ratty towel. “Can’t imagine any monster taking you down.” The towel shrunk in Sumac’s hands, small into a ball into a— thwip. Sumac whipped the towel-ball at Thomas—

–who caught it without moving a step. “I should hope not.”

Not another showdown. Chloe nudged her father, hard this time, so she could get in between him and Sumac. “Our tank got really low driving up here. Is there a town we can hit in the morning for gas, or just, you know, pay you for some? I’d…” she paused to throw in a dramatic look over her shoulder. “I’d rather Dad not have to leave my mother with these people.”

“Heh. No one should be left with these people.” Sumac motioned with his pointer finger that they follow him back to the kitchen. “Closest town’s twenty minutes in the truck. We can leave at daybreak, Miss…”

“Chloe.” 

“Chloe. I like it.” He held the swinging door open to the kitchen.

Remembering Sal’s warning, Thomas and Chloe took their time going in.

The kitchen itself wasn’t overrun with crows, at least. There were more pictures pinned to the walls, sure, but there weren’t feathers pinned to the cupboards or beaks in a bowl. It was actually pretty plain in there–wooden cupboards too old for their varnish lined one wall, interrupted only by a window and a sink. A long, narrow butcher’s block sat in the middle of the room, and a simple ovular table with four chairs sat over by a row of windows along the far wall–the back of the house, Chloe figured, since there was a back door, a pile of wood for the fire, and an axe. A big axe stained with blood. Stained with the same blood, maybe, as the blood on one of the kitchen chairs. On the furthest cupboards. In the sink. Maybe the same blood as that which sizzled atop a coating of grease, of oil, of God knows what else on the old gas stove where a kettle steamed.

The body lay spread out on the butcher’s block, limbs spread, ribs cracked into sections, skin hanging over the side like a wet dish cloth, jaw snapped open to show a complete set of tiny teeth crowned with the two long incisors. Inches away from those incisors sat a teacup, a teacup being stirred with a spoon held by a man who looked like a Santa Claus who’d lost a bet.

“Ah,” the man said with a playful grin. “You’re just in time for the evening medicine.”


Word Count: 915 Total Count: 6881

Whew! Here’s hoping I can shine a light on things tomorrow…and find a smile or two to share with you. x

Catching up? Here’s the list of installments thus far.

Read on, share on, and write on, my friends!

#writing #music: @LudovicoEinaud

From the Becoming shared last week, let us continue this journey into another realm. I discovered it while stumbling about–virtually, that is. (Though feel free to picture me tripping over rocks and logs in a forest if that helps.) YouTube was on shuffle as I dug through Wisconsin history to dig up curious reference points (like the Mormons torching their own houses in La Crosse before running on down to Texas) for my upcoming novelette “Night’s Tooth.” After yet another annoying drink ad, there was this wee chime, piano, and then violin…

Perhaps it’s the video of boys that connected me so quickly and so completely to this song. I see the parents desperately saving their son at the end, and my mind races to when I came so close to losing my own, each in different ways.

I had to learn more about this creator of narrative music.

Ludovico Einaudi is Italian born and bred; like me, his love of music is rooted down and in with his love of family. A scholarship to the Tanglewood Music Festival exposed him to the blossoming movement of American minimalism (a style developed in part by another favorite of mine, Philip Glass). He’s been composing music for stage and screen since the 1980s, but has also produced solo albums, the first–le Ondebeing inspired by Virginia Woolf’s short stories.

How curious to listen to a man inspired by fiction to compose music while his music inspires me to compose fiction!

Here’s a lovely example of the minimalism present in one of his more recent albums, Elements.

(If this Video doesn’t work, I found another live Vid here.)

I’m so happy to have found a live version of this song for the visual of this minimalism. No orchestra here–just a piano, a violin, a cello, a guitar, and a percussionist. Yet with these few instruments, you feel the world about you fill with sound, trickle-slow, like water moving through a child’s crafted wall of river stones. This steady build fits beautifully with the rise of tension in a scene, or of a character’s resolve to face the darkness.

(If this video doesn’t work, here’s another go with a different upload.)

Like young Lucy opening a wardrobe door to another world, Einaudi’s “Primavera” welcomes us into another world of magic created by trills and arpeggios–fitting touches in a melody for a song entitled “Spring.” And because spring is not always a delicate season, Einaudi makes the wise choice of building the strings up at the 2:00 minute mark to send them cascading like a downpour upon us. They run up like lighting, the bass notes rumble as thunder, and we are left standing in the deluge until the harp arrives to soften the rainfall and crack the clouds.

Einaudi’s talent for building darker worlds can be found in another album, In a Time Lapse.

(In case this video doesn’t work where you are, try this one!)

It is another song that builds, yes, but there’s a menace this time. The relentless snare drum forces us forward on whether we wish to or not. At roughly 2:00 a violin cries out, a plea for…for what? A plea to listen, to change, to stop. There’s tragedy in that relentless march, and if we don’t escape, we will lose our hope. The lone piano that ends the song tells me…well. What it tells me and what it tells you may be two different things.

That’s one of the great beauties of narrative music: interpretation.

Music is a life-force. It moves our hearts to beat, our souls to breathe. May Einaudi’s compositions beat in your characters’ hearts and breathe across the fantasy-scapes of your worlds with all the magic of a thunderstorm on a summer’s eve.

Stay tuned for author interviews galore! We’re going to learn more about some beautiful historical fiction set in World War II, a cracking cozy mystery, and a series of Young Adult novels set in the cut-throat world of horse-racing.

(And, if I find the right bribe, we’ll hear all of “The Invention that Changed the Chicken World” told by the author herself!)

Read on, share on, and write on, my friends!

Writer’s Music: Philip Glass

dracula-1931-philip-glass-kronos-quartetSo far, I have written about music that unsettles, saddens, or makes my characters wary of the unknown. But only one composer has the air of pure conspiracy about him: Philip Glass’ Dracula is a beautiful example of this.

(Admittedly, I wanted to tell you how Notes on a Scandal is the ultimate example, but then my husband introduced me to Glass’ score for the original classic Dracula, and that rather won me over. I’m bound to write about Notes later on, anyway.)

Even though the score is performed by a string quartet, the melodies can grow to overwhelming levels and suddenly shrink as Glass demands. Also, thanks to the strings, the melodies maintain a dangerously light feel, like spider webs gracing your neck in a walk through an abandoned building. But don’t underestimate the cello and viola—their dogged perseverance with rhythm give every track a sense of inevitability that, sooner or later, good will succumb to evil.

From a child’s perspective, the adult world is one big conspiracy to unravel. My human children never receive the answers they seek from their troll masters, so they must seek them out on their own. The track “Renfield” helps me imagine a party thrown by one of the troll masters, the perfect opportunity for the children to break into the secret library and find answers. These children are terrified, but if they don’t maintain their pretense of happy servitude, they will be caught, or worse, disappear just like any other “discontent.” Seek out Dracula, and listen as the formal veneer over your characters fades to reveal their true fears and desires.

Selection: “Renfield”

Click here for more information on Philip Glass and his music: http://www.philipglass.com/