Luckily a few attempts to open and close it jarred the thing free so I could still get Biff and Bash to school on time.
That early smack of stress, though, got me hittin’ the chamomile-lavender tea before breakfast. It doesn’t help my keynote’s in…48 hours. My final interview for a full-time teaching position is the day after that.
But I’m not complaining about all that again, because I’ve found the right music for a far better, far more productive mood.
Bo put this song along with many others into CDs he’d make for me to play on those long drives between home and graduate school. Now that the kids are into the Blues Brothers, we’ve been tapping the Motown, Blues, and R&B for family drives. Out of all the artists, the Four Tops remain on top for me!
Part of it’s the rhythm, upbeat and steady. How can you not tap your feet to these numbers? Part of it’s the ability to sing along–an excellent sensory distraction to keep anxiety at bay while I grade and prep school stuff.
The biggest part of all? They’re damn good songs.
If you’re feeling a little down today, pick up some Four Tops. Hum and dance those downer thoughts away. Like I tell my students, any step taken forward is one more step completed on the academic journey. For us, it’s the writing journey, mental health journey, parenting journey.
Well, it happened. Not this morning, when I guzzled four or five cups while catching up with school work. It happened with that last cup, that after-lunch cup I intended to drink as I struggled to make up all that lost novel-writing time this week. Bo was going to keep the kids upstairs so I could huddle with the computer in the basement. He was just coming up after hanging up his autographed picture of Cloris Leachman as I was coming down, coffee in one hand, notes in the other.
“What did you use in your coffee?”
“Pretty light for nuthin’.”
“Dunno what you’re talking about.”
He halts. “Is that creamer?”
(insert noncommittal verbal utterances here)
He gasps. “You cheated?”
(more verbal utterances)
I flee into the basement with his laughter and cries of “You poop!” rockin’ and a’rollin’ behind me.
After an afternoon of writing and blues, I did apologize…sort of. Yes, I’m sorry I didn’t stick to the guidelines as hardcore as Bo, but I’m not sorry for using something up before it goes bad. He listened to me, and thankfully believed me when I explained I hadn’t had any other non-Whole30 thing this whole week (which IS true, painful as it’s been when the kids throw away crusts gobbed with peanut butter or crusts of gooey grilled cheese).
So to make it up to him, I took charge of cooking supper tonight: Whole30-compliant turkey meatballs with zucchini spirals for noodles and compliant marinara sauce. The meatballs fell apart without the normal bread crumbs for a binder, but the veg spirals and marinara were actually pretty good. Now if only it wasn’t so damn costly to eat healthy…
No, Jean, no more griping. This is important. Bo NEEDS to lose weight. Your workload keeps you sitting waaaaaaaaaaaaay too much in the day for you to dismiss your health. This is important for you both. Suck it up, buttercup, and make that almond milk-coconut milk-vanilla bean or something-cinnamon stick creamer-substitute.
Sure, there’s some sweet Christmas music in there (Yay, more Alan Silvestri!) but also plenty of fantasy and adventure, too. It’s the sort of gathering that makes me eager to hide from my kids for a few minutes with headphones, a chance to close my eyes and explore the possibilities…
…but which way do I go?
It’s a crossroads moment, to be sure. Maybe I need to be like Anastasia, and wait for a sign, like a magically house-trained dog covered in Don Bluth cuteness.
Whenever I feel tired of writing, this song makes me excited to get back into it again. There’s adventure in the mind, hidden deep in trees born of words and dreams. One just needs to take that first step in to see.
Perhaps that first step transports you into the night. Something stalks you in the dark…or perhaps you are the stalker, hunting the threat before It escapes among the Innocents.
Rain begins to fall, and you fall into line, the world unsuspecting of the mystery that runs amok in night’s grit and fervor.
Perhaps that first step transports you to impossible heights. Clouds kiss your feet.
Your comrades call to you, waiting for you to join them in the descent down, down to where adventure rides sunbeams and waterfalls, tunnels through ancient tombs of fallen kings.
Perhaps that first step transports you into the heart of The Storm. Lightning flashes, and you see the grey, grassy field you’re in goes on, and on, and on in all directions but one.
Lightning flashes, and you see you are not alone.
Lightning flashes, and you see nothing.
You hear a breathing not your own.
Lightning flashes, and–
So many stories, so little time!
But I’ll make the time. I have to, since now I’m creating new fiction to be shared with newsletter subscribers. You can see the hub for it on the home page of my website now: “Free Exclusive Fiction from the Wilds.” When you click there, you’ll see whatever the new fiction is for the month: a Fallen Princeborn story, maybe, or something for my Shield Maidens of Idana. A character dialogue, perhaps, or maybe just a standalone story I felt like writing. Every month will bring something awesome, so awesome it’s gotta be locked up with passwords, mwa ha ha ha! The newsletter will have the password to unlock the fiction.
(And now I suddenly feel like I’m in a Zeldagame, going to such’n’such place for the yadda yadda key to unlock the neato treasure. Ah well, you get me.)
In the meantime, I’m still working on the novels for my Fallen Princeborn Omnibus. Still teaching and family-ing. But Bo’s got me mixed up in a challenge that, by default, I’m going to inflict on you.
In the briefest of terms, Whole30 says eat meat and produce, nothing else: no dairy, no grains. Coffee and tea are okay so long as you’re not adding stuff to them. You do this for 30 days to “reset your gut,” as it were, training it to burn fat instead of sugar for energy.
This means I’m going to try blogging for 30 days straight.
Not, you know, extensive pontificating for 30 days. Just honest reflection on how it’s going. Maybe something cool I’ve read, or some awesome quotes to get you thinking as you write or read. Some interviews of amazing Indie writers, some more music to inspire, and hopefully a “lessons learned” post about series writing that touches on a legit gripe many readers have about storytelling today.
And since I’m try to trim m’self down with Bo, then let’s just top this off with a sale on my novel, Fallen Princeborn: Stolen.For the entire month of February, Stolen will be 99 cents.
So, bring on the February! Bring on the cold, the coffee, and the dreams of stories not yet finished, not yet begun!
Something tells me it’s going to be a crazy-beautiful adventure. 🙂
As 2018’s National Novel Writing Month draws to a close, I thought I’d offer a little music to help those entangled in face-offs and final battles. We all could use a little muscle to pull us out and onward.
I know: you’re not here to start an adventure. You’re here because it’s time for you–and the characters of your story–to kick some villainous butt.
So let’s join up with the best of the best, the men of muscle who fly across the border and walk into a guerrilla nest without flinching. Men who chew cigars, sweat through camo paint, and say lines like “I ain’t got time to bleed” and sound tooootally bad-ass.
Predator isn’t a scifi-action classic purely because of Arnold Schwarzenegger’s performance, or only because of Stan Winston’s monster creation. Silvestri’s score plays a HUGE role in this story’s atmosphere, too.
Arnie’s military group is sent on what they think is a rescue mission deep in central America–until they find men of a previous “rescue mission” skinned and hanging from a tree. We see no evil, but we see its horror. Silvestri gives only a single, drum-like percussion, far off. An alien’s heartbeat, an echo of another nature. It’s never completely gone; rather, it hides in the rest of the orchestra’s bursts of harmony in the brass, strings, and percussion. The music sweeps up, sweeps down, all stealth and caution….until the two minute mark. The low brass of epiphany emphasizes the characters’ realization the situation is not what they presupposed.
Silvestri nails suspense with a moment when Arnold’s crew sets a trap for whatever’s killing them. The strings remain high, tight. No aggression in these first few moments, only fear–though no one wants to admit it. The combination of high strings and oppressive jungle makes characters and audience alike ready to snap under the pressure to wait. This moment often helps me add extra setting details to make the characters look hard for the villain as they wait for the trap to be sprung. And you’ll know when the villain comes, all brass and drums.
Silvestri and violins, man…he just knows how to set them running up and down in arpeggios to quicken the heartbeat. With opening in a dissonance, we put our survival instincts into a panic. We run with the strings, and the moment they stop we skid to a halt. The brass and piano takes up the chase, hunting us, hunting the characters, both.
And climax? Ye GODS, Silvestri knows his pacing. The first minute is almost sweetly mysterious with the strings as we think we’ve won against the fantastic thing, this hunter. We can stand over it victorious as its strange insides are exposed to us…until the brass and piano begin. They begin a steady build, add the percussion, build. Then the strings start to run and you know you’ve got to get the hell out of there before evil steals your victory in death.
We all want our heroes to win the day, but we don’t want it to be easy for them–there’s no story without conflict. We gotta make our heroes scared. It takes some serious fear to make the final victory all the sweeter for characters and readers alike.
~*~ ~*~ ~*~ ~*~
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Do you have a favorite character from Tales or Fallen Princeborn: Stolen that you feel needs some extra page time? Please let me know in the comments below–maybe they’ll be featured in future Tales of the River Vine!
When I find out an author is a big fan of MY favorite author Diana Wynne Jones, then I am required to check him/her out. ‘Tis Writer’s Law….or something. Shush, I did it, and I’m not sorry I did it because Naomi Novik’s Uprootedhas such a STELLAR first paragraph you can’t help but be invested. It’s not a matter of wit, or intrigue, or setting. It’s the world-building within each sentence that plants the seeds of interest in readers to blossom in nearly no time at all.
Let me share the paragraph with you, and then we can break this sucker down.
Our Dragon doesn’t eat the girls he takes, no matter what stories they tell outside our valley. We hear them sometimes, from travelers passing through. They talk as though we were doing human sacrifice, and he were a real dragon. Of course that’s not true: he may be a wizard and immortal, but he’s still a man, and our fathers would band together and kill him if he wanted to eat one of us every ten years. He protects us against the Wood, and we’re grateful, but not that grateful.
No sweeping descriptions of the world. No colorful portraits of characters. Yet Naomi Novik fills this paragraph with information other authors would stretch across a dozen pages.
Our Dragon. A capitalized “d” means this isn’t a typical beast. This is a title, or a name, and this Dragon thing belongs, in some fashion, to the group of which the narrator’s a part.
Our Dragon doesn’t eat the girls he takes. Right here, Novik won me over. How, just how many told tales have a dragon taking a person to eat it? It’s a trope, a cliche, a whatever-that-term-is. When we hear about dragons taking girls, we expect to hear about bones and death and the like. But Novik has taken this expectation, turned it on its head, and given us an entirely unexpected payoff. One sentence in, and we’re being told we can’t abide by the “typical” fantasy tropes.
…no matter what stories they tell outside our valley. Now we begin to get a sense of space, a little of time. Not a technological age, certainly, if stories can run rampant outside an area without correction. We’re also in a larger space–the narrator didn’t say “village,” or “town,” or even “city.” If there was only one community, the narrator would have used a term to say as much. So, we can conclude we’re dealing with multiple communities in this space.
We hear them sometimes, from travelers passing through. They talk as though we were doing human sacrifice, and he were a real dragon. Again, we get a sense this is not a technological era. We also begin to get a sense of our narrator–“as though we were doing human sacrifice” has this harrumphing attitude behind it. The narrator scoffs the very idea that there’d be a “real dragon” involved, let alone any sort of willful killing.
Of course that’s not true: he may be a wizard and immortal, but he’s still a man, and our fathers would band together and kill him if he wanted to eat one of us every ten years. I love this sentence! We have another taste of the narrator’s attitude with the “of course,” treating any ignorant outsider with disdain. We also learn what “Our Dragon” is: a wizard, immortal, man. (By the way, I love how that’s said: “he may be a wizard and immortal”–like this is normal. It’s the narrator’s normal, clearly, but the fact the narrator acts like this is the normal gives readers yet another taste of what Uprooted’s world is like.) The fact that a mob of fathers could take on a wizard also gives us a sense of the narrator’s respect for the men in her valley. Lastly, we learn our narrator is a girl with the “eat one of us.” So, we know this is a girl that’s been raised in a society that’s had to offer their daughters every ten years to a wizard.
He protects us against the Wood. Hold on. Wood? What Wood? Woods are common in fantasy, sure. Sometimes they’re just woods, and sometimes they harbor dangerous characters. But the narrator isn’t talking about what lives in the Wood. She’s talking about the Wood itself. Something about the Wood is so powerful and so dangerous that it requires a wizard’s protection in order for people to live in this valley.
He protects us against the Wood, and we’re grateful, but not that grateful. Okay, I just love the narrator’s attitude here. Yes, she’s emphasizing that the valley folk aren’t willing to let their daughters be killed every ten years, but there’s a quirky snottiness here I really dig. This is a girl who’s not afraid to speak her mind about what sounds like a cornered life: growing up near a dangerous Wood, knowing you might be taken away from everything you know and love by a wizard for ten years. She should be happy her people are protected, and she knows it.
But she ain’t exactly pleased with her potential destiny, either.
Novik grows a beautifully unique tale with Uprooted, one I’m always eager to recommend to those who love fantasy. For those who love to write other genres, I’d still recommend this book to study its craft. This first paragraph shows what can be done if one’s not just thinking about establishing intrigue, or painting a scene, or introducing a character. Sometimes it takes all three elements to grow a paragraph that is truly extraordinary.
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Composer Ennio Morricone–how to describe Il Maestro? He is an institution, an inspiration. He gave us THE showdown music, music so powerful the Sergio Leone would construct his films movie around Morricone’s music. You don’t edit Morricone. You follow Morricone. That’s how we have some of the most iconic moments in cinematic history, such as the climax from The Good, the Bad, and the Ugly:
Aren’t you just on the edge of your seats as the trumpets and drums build and build and build, the close-ups quickening and quickening until you can’t stand it anymore and SOMEONE HAS TO SHOOT and bam bam bam–just like that. Your heart remembers how to work, and you realize you’d stopped breathing for the last several seconds.
That’s the power of Il Maestro.
I use Morricone often for writing my Fallen Princeborn Omnibus, both the short stories and the novels. No, not the western soundtracks–powerful as they are, one cannot think of anything but Clint Eastwood staring down the likes of Eli Wallach and Lee Van Cleef. When the narrative turns down the dark road and finds itself stranded in menace–that is when I turn up The Thing.
The score composed for John Carpenter’s The Thing is not what I would call complex, and that’s fine. An orchestra would feel strange for a Carpenter film, and Morricone knows how to draw out unsettling harmonies for maximum effect. Just listen to this theme (roughly the first four and a half minutes of the track). It’s so simple. So, so bloody simple. The synth rhythm, steady as a comatose heartbeat. The synth chords moving in their own quiet pattern in sync with the heartbeat. Nothing loud. Nothing heroic. Just this slow, slow add to the harmony: more synth around the 2:00 mark, and more around the 3:00 mark, this time off-rhythm, just slightly. Just…not quite right, just like The Thing that hides so damn perfectly at the Arctic research base. Morricone’s rhythms of sounds, of notes-not-quite-notes: he takes the synth and forms them into a bleak landscape. We see nothing with this music. We hope for nothing. We escape nothing.
Now let’s see how such a dire emptiness feels with an orchestra in Quentin Tarantino’s brilliant western The Hateful Eight.
Strictly strings at first. The endless bass with a steady rhythm of violins: The Thing‘s influence, perfect for this moment of travelers approaching a lonely outpost on a mountain with a blizzard at their heels. Around 0:50 the xylophone begins a simple harmony, its repetition reminiscent of the chime of Lee Van Cleef’s watch in For a Few Dollars More. The minor key of the string’s harmonies further presses the boreboding into our psyche. We can’t not think something bad is going to happen.
This has to be my favorite track from Hateful Eight. The drums a bit faster here compared to The Thing, which gives us the feel of impending…something. Something, we don’t know what, is coming. We also get the feel of characters not sitting around, waiting for that Something to come. They’re hunting Something as much as Something is creeping up on them. There’s a multi-layered mystery here of who’s hunting who, who is who, and the treachery you know lies in every heart of the Eight just bleeds through the music onto the story.
Now for the record, I should note that Morricone considers this composition to be a bit lighter compared to some of his other work. As Michael Ordoña of the LA Times quotes Morricone:
“What I wanted to do with the two bassoons at first — and later there is a tuba and later on the contrabassoon and then the trumpet, and in the end, the male voices — I wanted to de-traumatize the dramatic content of the music,” says Morricone. “To add something lighter, more curious, more interesting. The contents of the theme remain tragic and dramatic, but the way these instruments are played, to the extreme ranges of their timbre, makes them quite lighter and ironic.”
-Article: Ennio Morricone says a hands-off Quentin Tarantino let his ‘Hateful Eight’ music flow
When I first saw this quote, I couldn’t believe it. Lighter? Ironic?! What in the brewin’ blazes is he on about?
But then I realized that whenever I write with this track, I am writing a scene with my villains from my heroine’s perspective. We are sizing up the villains through her wise-ass frame of mind, so in a way, Morricone’s music fits even better than I expected. He creates the unbeatable menace, yet also defies it with a glint in the eyes and a smirk on the lips.
Il Maestro gives writers the music of dire emptiness, where a setting must not only be seen, butfelt. Heard.
I use several of Danna’s albums when I write, The Sweet Hereafter especially when I need an atmosphere of unsettlement. There is no orchestra here; often only a few string or woodwind instruments play at a time. Percussion is limited. Harmonies come and go like sunlight beneath a breaking cloudbank.
My protagonist flees an abusive home. She finally is in control of her fate…until a bizarre accident wrecks her bus. No one questions the circumstances, nor does anyone think it strange when another bus, empty of passengers but filled with everything the stranded travelers need, just so happens to come along on an otherwise abandoned stretch of interstate. Only the protagonist feels the wrongness of it all, from the ground beneath her to the sudden stillness of the trees.
I could not have closed my eyes and worked this through if not for Mychael Danna’s The Sweet Hereafter. I visualized the empty road easily enough, but I enjoy the quiet of Wisconsin’s empty places. I could not make myself uncomfortable.
And then I put the tracks “Bus,” “Bus Stop,” and “Why I Lied” together, and found myself shivering inside my protagonist’s skin.
Danna’s music also makes a writer’s point: use only what you need, and use it well. It’s all too easy to dive into sweeping descriptions of the world’s logistics. Background, right? Context? Readers need it!
No, no they don’t. Keep it simple. Share just enough to catch the reader’s eye. Keep him a few steps behind. Then, you may broaden the reader’s vision as the story advances. Danna’s “A Huge Wave” is the perfect track to reflect this idea, for the instruments build slowly from strings, to percussion, to wind instruments, to crest in volume and slink slowly away into the mists once more.
If ever you need your characters to feel unsure of the world about them, lose them in Danna.