#lessons Learned & an #Author #Interview with Michael Scott, Part 2: #write a #villain worth #reading. Thanks, @flamelauthor!

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I have always believed that for the hero to be successful, the villain has to be their equal.
Michael Scott

Nothing wrecks a good story like a lame villain.

Be it Mustache Twirlers, Righteous Avengers, or World Conquerors, such villains have nothing to them apart from their evilness. And no matter how grandiose that evilness is, evil without any depth is boring.

Not cool.

A villain’s got to have more than just evil intent to be worthy of page space. A villain needs interests, feelings, and hopes all their own.

I always try to write the villains as the heroes of their own stories.
Michael Scott

In my post on the Rolling Stones’ song “Sympathy for the Devil,” I shared my realization that villains “must have some essence of us, of the everyday person.” I think this is why Michael Scott‘s villain Dr. John Dee makes such a magnificent antagonist to Nicholas Flamel in The Alchemyst: he is presented as a complete individual, one with facets physical, intellectual, and emotional.

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Physical

He was a small, rather dapper-looking man, dressed in a neat charcoal-gray three-piece suit that looked vaguely old-fashioned but that she could tell had been tailor-made for him. His iron gray hair was pulled back from an angular face into a tight pontytail, while a neat triangular bear, mostly black but flecked with gray, concealed his mouth and chin. (5)

Right here, in our first sight of Dr. John Dee, we get a sense of Dee’s style. He’s one for theatrical elegance, right down to the very scent of his aura when ignited:

Dee closed his eyes and breathed deeply. “I rather like the smell of brimstone. It is so…” He paused. “So dramatic.” (20)

Chapter 6 builds on this physical image of Dee, with limousines, leather coats, and the latest technology. The man’s even got a favorite ringtone: the theme from The X-Files (which, oddly enough, was MY favorite show back in the day. *Gasp* a sign of my inner villainy!). While a little detail like a favorite ringtone may not sound worth writing, such a little detail gives us a sense of a man amused by what humanity considers paranormal, one who might watch such a show just to see what humans get right. Heck, maybe Dee has a crush on Gillian Anderson.

My point is, a villain sharing his personal tastes in some fashion, any fashion, helps readers see a complete person on the page.

We also see that Dee’s not so disconnected from the world as to think he can do what he wants without affecting the environment. For example, when his undead army fails to capture Flamel and Co. but succeeds to destroy a chunk of a town, there’s a newspaper account of him holding his movie company accountable for the damage and promising to make reparations. Dee’s physical wealth gives him the ability to cover up his magical actions, including the kidnapping of Nicholas’ wife Perenelle. He’s bought Alcatraz as a prison for her…with a sphinx for a guard. Where else could one hide a sphinx near San Francisco?

An icy shiver ran down Perenelle’s spine as she realized just how clever Dee was. She was a defenseless and powerless prisoner on Alcatraz, and she knew that no one had ever escaped The Rock alive. (315)

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Intellectual

Dee is, indeed, a wickedly clever individual. He understands alchemy, necromancy, sorcery, and more. He can call up the consciousness of a dead member of the Elder Race, one of the most powerful beings on the planet Earth, and command it to speak truth.

Even though he has not been able to study the powerful book known as the Codex because Flamel guards it, he remembers several elements of its contents, including a prophecy involving twins heralding a powerful change for all races, magical and non-magical, that walk the earth.

So when twins Sophie and Josh are separated in Chapter 37, Dee uses his wit to corner Josh’s fragile mental state. He knows just the lines to say to make Josh feel like Dee is full of truth, and Flamel is the proper liar. Lines like:

“Are you a victim too?”

“It seems we are all victims of Nicholas Flamel.”

“Do you know how long I’ve been chasing Nicholas Flamel, or Nick Fleming, or any of the hundreds of other aliases he’s used?…Flamel never tells anyone everything,” he said. “I used to say that half of everything he said was a lie, and the other half wasn’t entirely truthful, either.” (338-40)

Terms like “victim” and “lie” are just enough to keep Josh second-guessing if Dee is being truly helpful or truly villanous. This buys Dee enough time to cast a spell on Josh to numb his senses so he can go hunting for the others.

But no scene quite shows the inner motivations of Dee like the end of Chapter 32, after the Dark Elders leave Dee to chase Flamel and Co. southward.

Dee shoved his hands in the pockets of his ruined leather coat and set off down the narrow path. He hated it when they did that, dismissed him as if he were nothing more than a child.

But things would change.

The Elders like to think that Dee was their puppet, their tool. He had seen how Bastet had abandoned Senuhet, who had been with her for at least a century, without a second glance. He knew they would do exactly the same to him, given the chance.

But Dr. John Dee had plans to ensure that they never got that chance. (298)

Dee has been granted immortality by the Dark Elders in return for his service. He’s led their armies, he’s spent years wandering Otherworlds and Shadowrealms, he’s fought monsters that would frighten the blackest of natures. If you had ten years to wander around in an Otherworld of ice, that’d leave you time to think.

To plan.

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Emotional

Dee absolutely believes he is doing the right thing; he has to believe that Flamel and Perenelle are in the wrong.  –Michael Scott

Michael Scott takes care to give us consistent glimpses into Dee’s feelings via changes in point of view. Not only do we see the progress of the story from Flamel’s narrow escapes and feats of magic, but we also see the story from Dee’s prepared traps, skillful attacks, angry defeats.

By focusing solely on the twins’ POV, we would only get a tiny glimpse of what was happening. Similarly, with Flamel, we get just another tiny slice. By giving us Dee, and the other POV and perspectives, we get a bigger, broader and wider story. Also, it teases the reader slightly (and this is something which is explored in more detail as the series progressed): are the Flamels being honest? We, the reader, know they are lying to the twins, so suddenly, everything we know about them is thrown into doubt. Maybe, just maybe Dee is telling the truth. –Michael Scott

Dee is just as passionate about achieving his plan as he is cunning in his means to fulfill it. This man even carries one of the greatest swords of humanity’s heroes: Excalibur.

Dr. John Dee lifted the short-bladed sword in his hand. Dirty blue light coiled down its length, and for an instant the ancient stone blade hummed as an invisible breeze moved across the edge. The twisting snakes carved into its hilt came to twisting, hissing life. (267)

Surely a hero wields a heroic sword, doesn’t he? Yet Dee uses it to kill an Elder and destroy an entire Shadowrealm. That doesn’t sound heroic.

But we readers started this series with Flamel. We’ve connected the term “hero” to Flamel, not to Dee–which is ironic, considering the author Scott’s own words:

17402605…for the longest time, [Dee] WAS the hero of the series. It was called the Secrets of Doctor Dee, with Machiavelli, who appears in book two, as the villain of the piece. However, Dee never felt “right” for the role. Because my rule for the series was that every character had to come from history and every creature from myth, I wanted to stick as closely to the “real” Dee as possible. And while the real Dee was many things, he was not a hero.  –Michael Scott

Like the “common” villain, Dee has his moments of confidence, and rightfully earned, too: when he first takes the Codex, when he kidnaps Perenelle, when he kills an Elder. His skills and knowledge shine in these moments.

But unlike the “common” villain, Dee does not assume his plans are fool-proof. He often has to create new attacks on the fly. He’s often afraid to deal with the Dark Elders, but he has no choice and seeks their aid.

“Fixing a smile on his lips, he rose stiffly to his feet and turned to face one of the few of the Dark Elders who genuinely terrified him.” (92)

Now normally I’d say fear makes a villain whiny, or at the very least obnoxious. But with Dee, this simply shows he’s capable of more than confident arrogance. Just as a hero fears failure, so does this villain. Both hero and villain are desperate to succeed, but unsure they can. This dual uncertainty, emphasized with the multiple points of view, drives readers to turn one page after another, eager to see who gets the power tipped into his favor in the next chapter, and the next chapter, and the next.

He was a real man, extraordinary in so many ways, but incredibly flawed.
Michael Scott

May your own villain be as Dr. John Dee: 

Extraordinary.

Flawed.

A devil in need of sympathy.

download (2)Many thanks to Michael Scott for taking the time to talk to me! Over the past few decades he’s written one hundred novels in a variety of genres, including Fantasy and Science Fiction. He also writes for both adults and young adults. A student of story himself, Scott’s studied Celtic Folklore so deeply he’s become a renowned authority on the subject. Learn more about him and his work at http://www.dillonscott.com/. 

 

 

 

 

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#lessons Learned & an #Author #Interview with Michael Scott, Part 1: #writing a #pageturner. Thanks, @flamelauthor!

Readers expect a world created from our words, a place of wonder and depth. If they get bored–and as a reader, I know I’ve gotten bored–they will tune the story out. They will shelve it among the “did not finish” works in Goodreads, and they will bid our titles adieu. There are, after all, a gazillion other writers out there.

So how do we keep readers in the story? How do we get them to whisper, “just one more page” for the seventeenth time?

After reading Michael Scott’s The Alchemyst, I can safely point out two elements that kept me reading: the cliffhangers between each chapter, and the book’s antagonist. In this post, we’ll focus on the first.

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Let’s consider Chapter 1. We’ll have to start with the first line in order to fully appreciate the chapter’s end. (I’ve already covered story starts in other posts about Holly Black and Diana Wynne Jones, if you care to look.)

“Ok–answer me this: why would anyone want to wear an overcoat in San Francisco in the middle of summer?”

Nothing outrageous. Just a little oddity that might call attention to a casual passer-by, as it calls the attention of teen Sophie. She sees a few coated individuals and “small, rather dapper-looking man” enter the bookstore across the street where her twin brother Josh works. They’re kind of weird, but that should be it, right?

Scott then takes us to Josh’s perspective. When foul odors suddenly permeate the bookstore’s basement, he decides to go up for some air.

He popped his head out of the cellar door and looked around.

And in that instant, Josh Newman realized that the world would never be the same again.

End of chapter.

In the first couple pages, Scott establishes something is off in the Normal Life of our protagonists, but we don’t know how off. At chapter’s end Scott makes it clear that it isn’t the teens’ summer that changes, or even their Normal Life. It’s the world.

And, it’s only page 8.

We need to read how this simple meeting, this little one-off from Normal, could mean something cataclysmic.

Over the next few chapters, the teens are on the run with Alchemyst Nicholas Flamel, keeper of an ancient book called the Codex. The Codex holds the secret to immortality as well as the forgotten histories and magics of Earth itself. The Dark Elders, once gods but now forgotten, want that book more than anything, and they’ve sent Dr. John Dee, an old apprentice of Flamel’s, to retrieve it. Immortal through his service to the Dark Elders, Dee will spill any blood and unleash any power necessary–and we see in The Alchemyst that Dee has a massive magical arsenal at his disposal.

17402605Come Chapter 6, we are following Dr. John Dee’s point of view. Dee has stolen most of the Codex and abducted Nicholas’ wife Perenelle, but Josh managed to rip the last few pages back before Nicholas helps the twins escape. Furious, Dee contacts his masters for a little help.

Then he snapped the phone shut and looked over at Perenelle Flamel. “It would have been so much easier if they had just given me the Codex. Now the Morrigan is coming. And you know what that means.”

End of chapter.

Perenelle Flamel may know what “that means,” but we have to study the context a little to catch on. “The Morrigan”–a definite article means this not just a beast or creature, but a specific being, an individual entity unique and separate from others met so far. “So much easier if they had given me”–if surrendering to a killer is the “easier” option, then we know whatever’s coming is more violent and nasty than Dee’s been. Dee feels confident in telling Nicholas Flamel’s wife about “the Morrigan” because he expects this Morrigan to get results. Since we’ve seen some of Flamel’s magic, this must mean the Morrigan is a very powerful individual capable of killing Flamel.

Well. We’ve got to see that.

Closing the chapter on a sinister, ominous image can also hook readers for the next chapter. Chapter 8 has Flamel and the twins trapped in ally Scatty’s residence. We end as Dee begins his assault with creatures under his control.

Below them, three huge Golems, trailing flaking dried mud, were pushing their way through the wide-open alley door. And behind them, in a long sinuous line, came the rats.

End of chapter.

I LOVE the use of the word “sinuous.” Read out loud it sounds like a snake’s slithered into the room. Visually, readers picture rats doing something they know to be unnatural. Since when do rats move in a single-filed line? Plus there is a common loathing of rats: bringer of disease and destruction, full of little pointy teeth and hands. When you see one, you know there’s a few dozen more not far behind. Maybe some people think of Ratatouillebut being an 80s child, I think of Indiana Jones and the Last Crusade. 

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Scott also has some fun playing with the reader’s expectations. Chapter 10’s climax is a lovely example of this.

Sophie pulled her cell out of her pocket and flipped it open. “Aren’t you going to work some magic?” she asked hopefully.
“No, I’m going to make a call. Let’s hope we don’t get an answering service.”

End of chapter.

By this point, the twins are accustomed to seeing Dee utilize his powers to combat the villain. The fact he uses a phone for such a mundane action makes Reader Me want to know: Who on earth could this guy be calling to combat a monstrous cloud of crows bent on tearing them apart? The only way I can learn the answer is by reading on.

Being a pushy, curious sort, I asked Michael Scott how he worked out building strong chapter endings with multiple points of view.  His answer reflects an important writing strategy: planning.

I started with a single sheet of paper and wrote out my idea for the entire series. I could see that there were six very neat breaks in the narrative.

I then wrote out the idea for each book on six sheets of paper. Then I went in and plotted them sometimes in fairly fine detail. That allowed me to pace out the chapters.

I always tried to end a chapter with a hook which would leave you dangling so that you had to read the next chapter (which was often not a continuation of the story), to get back to the main story. So your plotting is chapters 1,3,5 are all one story, and 2,4,6 are a separate, but linked story.

I love my narratives to adventure into the unexpected, but even I like to keep a map on hand in case I get lost. Readers will only appreciate tension and high stakes if the story stays focused on those things. If writers dish out too much tension at once, any slowing of the plot jars the pacing beyond repair. Like the 90s blockbuster Speedyou have to keep the story moving fast, or risk blowing up your reader’s engagement. If you attempt a slow burn and fail (and I just read a novel guilty of this, so stay tuned in August), you’ve lost readers before you could even get to the story’s objective.

So you need action, but not too much at once. You need climaxes in that action, but not so much to make later climaxes feel, well, anti-climactic. No wonder, then, that Scott not only took time to outline The Alchemyst, but the ENTIRE six-book series of The Secrets of the Immortal Nicholas Flamel. How else can he tell the story from both the heroes and villains’ perspectives without missing a beat?

And I’m not going to lie–Dr. John Dee is my favorite part of this book. Next week, we’ll explore with Michael Scott what makes this villain–and therefore the well-written villains–worth reading.

download (2)Many thanks to Michael Scott for taking the time to talk to me! Over the past few decades he’s written one hundred novels in a variety of genres, including Fantasy and Science Fiction. He also writes for both adults and young adults. A student of story himself, Scott’s studied Celtic Folklore so deeply he’s become a renowned authority on the subject. Learn more about him and his work at http://www.dillonscott.com/. 

 

 

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Three Mice Blind: A Q&A

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WAAAAY way back, Scotland’s gem of an author Shehanne Moore and her diabolical hamsters threw a ball full of questions my way. Tucked in among those questions was an award:

epic-blog-ward

I never realized Hamstah Dickens and his crew thought of me so highly, and my deepest gratitude to Shey for the honor. 🙂 Now, as for those questions…

What made you choose your current blogging platform?

Naiveté. After reading time and again of the importance of platform, and that all writers simply must have a website, I decided to see what forms were out there. After five minutes of half-assed research, it seemed WordPress was the most flexible with the imagery and text.

 Introduce yourself and tell us about your blog

(sheepish wave from the back of the room) Hi.

I’m Jean Lee. You meet me in the street, you’ll see me defined by marriage and motherhood. Appropriate involvement in church life and PTA. Part-time teacher.

But you’ve met me here, haven’t you?

Here, I struggle as many others do: to read, to write, to discuss both with an iota of intelligence. Also, in the hopes of easing the struggle of others, I share the music and landscape that inspire me so.

 Are you a once in a while blogger or a daily one?

Once a week is the best I can manage with the rest of life’s obligations.

 Do you wish to publish and if so, what type of book?

Publishing would be the shot to the moon, yes. As for type…not literary. That’s best as I can narrow down for the moment.

 What is your favorite thing to do besides write?

Read. The time to not focus on Life Out Here is one of the most precious luxuries a mother—and a writer—can have.

 ~*~*~*~*~

After these very professional questions, I came across the hamsters’ furry lines of inquiry.

What is your favourite line of poetry about a hamster? Oh okay, we mean a small furry creature, or animal.

Oh, dear. I’m not much for poetry…

Wait, dear hamsters! Don’t fly over the Atlantic and seek out my house! (stall stall stall) I will say that mice were primary characters in two of my favorite children’s books: Reepicheep in C.S. Lewis’ Chronicles of Narnia, and Ralph in Beverly Cleary’s The Mouse and the Motorcyle.

Whew! Found a line from Seamus Heaney’s Squarings I marked long, long ago:

 What came first, the seabird’s cry or the soul

-xxii

What was your favourite children’s book if it was not Mrs Tiggywinkle?

I didn’t know of Mrs. Tiggywinkle as a child (runs and hides). Seriously! When I was 8, I discovered The Adventures of Sherlock Holmes. Of all the stories I read in my formative years, I latched onto those the most. They influenced my taste in mystery and the love of murder described with a foreign accent. Sure, I still enjoyed the ripping good fantasy every, but the mystery became the epitome of Good Story. I even tried writing my own when I was a kid. Kind of hard when one doesn’t know the intricacies of human anatomy and forensic science…

 You’re in the forest. It’s dark, it’s cold, it’s mysterious. Suddenly, the bushes part and there snarling before you is a savage, giant hamster. What happens next?

I drop the giant vegetarian wrap I was gnawing on and flee, screaming my little girly head off. I’ll storm to the local Field of Care Wizarding office, pound the door until the bugger wakes up, and file a complaint while talk-gasping my way through the paperwork, and then refuse to let him go back to bed until he’s followed me out and found the thing and given it a good talking-to for scaring me.

 Is there any place in the world you would like to set a book or poem and why?

Honestly, I’ve always been content with where I am. I don’t understand the draw to writing about urban life. Not that it’s bad, mind, but I’m not at home in the city, so unless I need that out-of-place feeling for a character, I’d rather avoid it.

No, Wisconsin’s always felt like The Setting, with the forests and farmlands, its forgotten roads and secret rivers.

You can have dinner with your favourite book hamster character. Who is it and what will the first course be? Recipes are welcome. Of course if you can’t find a hamster, just choose another animal.

See, here’s the thing about being a frugal Midwesterner: everything’s a casserole, or something that can eventually become a casserole. If you can’t just throw it into a crockpot (aka slow cooker) for eight hours and top it with cheese, it ain’t worth eating.

So when I’m asked what I would eat with someone, I am so totally caught off here that I have no clue what to say, because I can’t just say “leftover casserole.” (Though I have a feeling that Basil of Baker Street wouldn’t give a toss about what he eats, so long as he has the energy to keep working.) Hmm. Best play it safe, and say Mrs. Brisby and her children from The Rats of NIMH, and that we would share a grilled cheese sandwich with a side of tomato soup and a cup of cold milk, with chocolate chip cookie bars for dessert. (I, um, don’t do courses. It’s all and done.)

Forget all this hero stuff. You’re being cast as the villain and it’s your choice who you pick so long as they are from a book.

Well that’s full of all sorts of delightful potential. In terms of my reading experience, Livia from I, Claudius is the THE greatest spider ever to spin the villain’s web. She manipulates dozens of people over the course of several generations. As one character puts it, “Time means nothing to her.” Because her ambition is on par with her patience, she doesn’t care how slow others move, so long as they move in the direction she wishes and carry out the actions to which she leads them. Sure, the in-your-face-bwa-ha-ha villain is fun, and so long as he/she has a clear motive for being evil, I’m all for the volcano lairs and plans for world conquest. But the spider web…damn, that’s wicked fun.

What was the last book you read?

I recently finished The Queen of the Night by Alexander Chee, which was recommended on Fiction Advocate. A vivid and entertaining read, though I never understand when a writer refuses to use quotation marks for dialogue.

 How much of you is in your characters or your poetry?

 I…I, um…

<Stop squirming and just skip, the little dudes won’t notice>

 Who or what inspires your writing?

Back when I was a child, the answer “who” was simple:

My dad, first and foremost. As a pastor, he was always writing his own sermons, liturgies, bible studies, and hymns. So often I would visit him in his office, typing on that god-awful blue DOS screen of Word Perfect. His voice was always beleaguered by allergies and acid reflux, but never his real voice: writing in sickness and in health, for the celebration of a marriage or a life passing on through Heaven’s gates. Writing fortified the soul against life’s terrors. So I, too, wrote stories, endless stories, and shared them with Dad. We’d sit in front of that blue screen for hours, talking about character and plot, just him and me.

But then I grew older.

Time to set aside the childish things, prepare for God’s Calling. God’s real gift to me was in music. Time to go to school, learn to be a music teacher. Play in church. Sing in choir.

But then I grew older, and set aside the music instead for prose.

Well. God’s children need good stories about Jesus and the power of faith.

But then I grew older, and started to write about the tarnished base of shiny Jesus school.

Why are you writing about that? That’s not a good testament of your faith, Jean. That’s not what people need to learn about Jesus.

My dad stopped reading my stories. I stopped offering. There was no point in sharing them with someone who no longer had faith in my writing.

And, I guess, that’s when my own faith died.

~~~

There’s a line in a Christian contemporary song (as opposed to a 15th century hymn) that came to mind as I considered walking away completely. Just, let the blog die. Pull the WIP out of my room, and pack it up in the basement. Pack away the childish things. Grow up. Focus on the little hands tangled in my hair and punching my thighs. I once wrote about my focus being torn into strips. It was time to sew them together. To piece myself together. Wasn’t it?

Anyway. The song’s line: “We walk by faith, not by sight.”

Those who inspire me and support me now, I have never seen face to face. Yet I know them better than blood relatives. Each has such beautiful imagery to share, be it photographs or prose. Life dictates to them, and yet they somehow maintain control, and drive themselves forward no matter what Life demands. No criticism stops them. Every trial is transformed into a newly discovered strength. This is why I nominate them for the Epically Awesome Blog Award, which calls for them to answer the non-hamster questions at the beginning of this post:

Dyane Harwood: Birth of a New Brain
https://proudlybipolar.wordpress.com/

Michael Dellert: Adventures in Indie Publishing
http://www.mdellert.com/blog/

Inesa MJ Photography: Making Memories
https://inesemjphotography.com/

Nathan Filbert: Becoming Imperceptible
https://manoftheword.com/

Peggy Bright: Where to next?
https://leggypeggy.com/about/

Shey, who’s already received the award, lifts me time and again by showing me her own journey, and that the trials encountered on the Writer’s Road are worth pressing through for the tribulations that await.

Another name comes to mind: a college friend, the only one who also writes, who told me to take on a new name and write myself into existence: Ben Parman: https://bendanielparman.com/

The friendship formed through theater and writing, then he went on to film school, I to grad school. His faith and homosexuality fought inside him for years; few saw the bloodshed’s toll. But for all the counseling, rehabilitation camps, family and friends, it was writing, really, that brought about the ceasefire. That writing transcended into a play: Starlings. I attended, and saw the facets of my friend reenact their war.

Perhaps that is what I need: a bloodletting.

Somehow, I have to uncover the faith I lost in myself. I cannot be a fighter until I do.

Tell us a bit about what you are working on now.

Which brings us here.

Normally, this question shuts me down. After all, what was I working on? The same damn WIP I started a few months after my daughter was born. She just turned 6.

Six bloody years on the same story. Adding characters, taking them out, changing pov, changing plot points, changing descriptions. Never happy. Never sure. Never ready to walk away because it just needs one more change, one more time and then I’ll start something new. Whatever that is.

I look at my story, and all I feel is embarrassment. Shame. I don’t want it out there with my name on it, any kind of name. It’s not worth anyone’s time. It’ll prove that for all the talk about writing, I am only that, talk. When it comes to finally showing what I can do, I’ll show I can’t. And for all the wishful language of writing and story, I am incapable of drawing any imaginative life from inside me onto the page.

But I can’t let the WIP go. It got me out of postpartum. It was the closest thing to light I had in the fog of those years, even though now I wonder if it was merely a trick my eyes played on my mind.

Those who can’t do, teach. And I do teach, but it’s just basics. Remedial writing. Hey, this is how to write a paragraph! Maybe we should focus on sentences, first…no a verb doesn’t work like that…

The basics. As basic as it gets.

Maybe that’s where I need to start. Everyone moves forward from a beginning. It’s time I did, too.

So I looked to a writer who’s done more to instruct me than all my undergrad and grad years put together: Diana Wynne Jones.

(Hush, like you didn’t know.)

I compiled all my posts about her from the past year (Good God, it’s been over a year since I started this) into a single collection. Her stories are a marvel in craft and imagination, not to mention just plain fun.

Hmm. Not quite done. Not quite done reading, true, but it’s the blogging that wasn’t done, either.

So I wrote two new pieces on the influence myth and her own traumatic past have had on her writing. They’re not for the blog.

They’re for you.

Whatever piqued your interest about my site, I humbly thank you. You’ve read, shared, and commented on my rambles week to week. You’ve made me feel my words are worth something after all.

You’ve helped me uncover the embers of my old faith.

But like a fire fairy, they are fast and fragile. If I grasp them too roughly, they’ll crumble in my fingers. If I chase them too quickly, they will fly out of reach, and become indistinguishable among the stars. So we will move slowly, you and I, beginning here.

Next week’s post will offer my Lessons Learned collection to those who sign up to follow me. Perhaps a word or two in them will bring a fire fairy to you.

Don’t let it get away.