#PrideMonth continues with another #YAFantasy #Podcast for my Fellow #Readers and #Writers: #BeyondtheBlackDoor by #AMStrickland

Good morning, my fellow creatives! Before my new students swamp me with first-day questions, let’s continue our fantasy lit journey through Pride Month with Beyond the Black Door by A.M. Strickland.

What does a reader experience in those opening pages, and what does a writer learn? Let’s find out!

If you do not see the audio player above, you can access the podcast here.

I hope you enjoy this sip from Beyond the Black Door with me! If there are any stories you would like to recommend for sipping on this podcast, let me know in the comments below! I’d also welcome reading any indie authors’ own stories.

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

The Power of #OralStorytelling in #History, #Reading, and #Writing

Featured

Hello, my fellow creatives! Summer has returned to the Midwest at last. While my kids eagerly toss their backpacks into the air crying Hallelujah, I am wrapping up finals while also preparing for the next term. It’s a little scary, changing over terms, but, you know…we manage somehow. 🙂

But all this monsterly ruckus does not mean we cannot think of writerly things. In fact, I was fortunate enough to host a virtual Creative Salon for some fellow teachers about the importance of oral storytelling for its cultural, creative, and classroom significance. Let me take you through a few bits of research, perhaps a pondering or two, so that we may all remember just what is treasured–preserved–known through the tradition of oral storytelling.

The oral traditions and expressions include of many spoken such us riddles, proverbs, folklore, tales, legends story, myths, epic songs and poems, charms, prayers, chants, songs, dramatic performances and more. Oral traditions and expressions are used to give information about the knowledge, social and culture values as well as the collective memory.

Cultural Preservation: Rediscovering the Endangered Oral Tradition of Maluku

Think back to your days listening to a story a loved one tells you, or that you told yourself. “Once upon a time”… and off you go into someplace Other and New. Such a common little phrase, isn’t it? We hear it over and over in familiar fairy tells and legends. You can even trim that phrase down further to simply “Once.” Countless stories start at this very moment. These stories come from across land and time to reach us, here and now, and pull us into their “once”: stories of battles waged, quests completed, families reunited.

Or perhaps those stories come from an Elsewhere altogether different: lands of myth and magic, where the Impossible is just as real as you, or you…oooor you!

Campfires call upon that Impossible Magic, don’t they? When the words of a spoken story combine with the sparks and stars, we cannot help but fall under the story’s spell. Such was the way we and others wove with words: summer camp’s ghost stories, Dad’s evening devotions, or the bizarre fairy tales we’d tell ourselves while poking the embers with our sticks still sticky from the last of the marshmallows.

In the time of Dickens, reading aloud at home was very much a common household entertainment. The practice had become broadly accessible in Britain a hundred years earlier, with the spread of literacy and the increased availability of books and periodicals…they saw reading as a pick-me-up and a dangerous influence, a source of improvement, a way to stave off boredom, and even as a health-giving substitute…

The Enchanted Hour

But let us not be so foolish as to suppose the stories told could only be for fun. Telling tales aloud could be extremely instructive, too, for any class. From oral historians describing battles to Caesar as he dined, to the man reading newspapers to Cuban cigar-rollers as they worked, we have depended on the oral storyteller to take us outside of ourselves and witness that which we cannot experience otherwise. It is through the telling of lives that we have learned what it is like to emigrate to a foreign land, to live in a centuries-old slum, to hide in the trenches as bombs decimate the land. Countless cultures have depended upon oral storytelling to preserve their histories and customs, and it is through such practice that modern generations have been able to preserve the ways of their ancestors.

The art of storytelling was practiced by both men and women in Lakota culture and society, where a form of high culture existed prior to the reservation period. Those individuals born in the early part of the twentieth century retained memories of narratives told by grandparents who lived during this “high culture” period, which extended from the time before contact with Europeans to approximately 1850.

George Sword’s Warrior Narratives

Nowadays, Kapata is performed (sung) widely [in Indonesia]. In its development, Kapata helps to carry out the function as the medium to enrich language and literature…Another function of Kapata is a social control function. It can be found in the texts of Kapata such as in Kapata Nasihat in Central Maluku from parents to children or from kings to his people. Kapata [maintains] the sanctity of customs regulations and upholding custom laws in a particular community; and to preserve and maintain custom relations that have been established in a community for years.

Rediscovering the Endangered Oral Tradition of Maluku

Māori who participate in ceremonies and meetings there, descendants of those who composed and passed on the ancient records, know the lineage of their forebears because of often quoted genealogies, which were also preserved in the oral tradition. The words handed down from the ancestors are cherished and kept current in various ways and through new media….The literature that bears the closest relationship to the oral tradition in its original form are the texts that Māori first wrote down from memory or that were written for them as they dictated…

Maori Oral Tradition

The West had shaped the knowledge and discourse about Africa for hundreds of years and it was important to shift that power relationship. Obviously, decades of European colonial incursion and rule needed to be sorted out as it pertained to earlier scholarship….Certainly, African societies have preserved their histories, cultures, and ideas in nonverbal forms in the plastic, musical, dancing, and ritual arts, and these need to be taken into account when seeking a thorough historical picture. This also allows us to understand how earlier events have been reconsidered or even reshaped over time for contemporary purposes.

On the Status of African Oral Tradition Since 1970s: An Interview with Robert Cancel

But what does oral storytelling mean for us in the here and now? Since the professionals cannot make up their minds about listening to stories vs. reading them, let’s just focus on what we get out of oral storytelling as both readers and writers of the present.

Reading becomes a priority again. One of my university colleagues broke down the current literacy plight as an inevitable consequence of the “multimodality” of our entertainment. Once radio and film came to Main Street, people no longer needed newspapers and books like they used to. A representative of Wisconsin Literacy concurred, noting that a child is not raised in a home where reading matters, that mindset is carried into adulthood and passed on to the next generation. This mindset propels that vicious cycle of low-literacy onward: no motivation to read = inability to decipher and synthesize text both simple and complex. Forget research–low-literacy means being unable to properly fill out a job application or understand a medical prescription. Studies shared in The Enchanted Hour show that the majority of a child’s neurological development occurs in the first five years, and when a child watches a video instead of listening to a book being read, that development suffers greatly.

Listening to a picture book being read, however, helps children connect the pictures and words they see with the words they hear. They hear how the words sound, how the sentences sound, and are therefore able to use those words and sentences themselves with confidence. And this isn’t just for kids, by the way. I have recommended my adult learners reading fun stuff for years, and the response is overwhelmingly positive. Reading for fun makes reading for school a smidge easier. Reading for school makes writing for school a smidge easier. Writing for school makes writing for work a smidge easier. Put all those smidges together, and you’ve got yourselves a broken vicious cycle.

If a child sees something in a parent that that child aspires to, he or she will copy that parent and be content.

The Reading Promise

This is another reason why I started my podcast last month: in all my encouragement to students, I was neglecting myself. Story Cuppings became a way for me to not only sample and study stories through reading their first chapters, but to read aloud and experience new language again and again. If you’ve a book–be it one you love, wrote, or both–you’d like me to share on Story Cuppings, just let me know!

Passion swells to share one’s life experience, the struggles here and now. “Once upon a time” is not limited to Past Days or Elsewheres. “Once” means “now” as much as it means “then.” “Once” there is a group of people who struggle, not struggled, against adversity. That “once” takes us to the accounts of individuals in Hong Kong, in the United States, in Myanmar, in Poland, in Mexico. It is through the words of an individual—what they see and hear, what they experience at the hands of others—that we learn of the epic quests and battles of today.

And do not assume “epic” must mean “global stakes.” On the contrary, the most epic victories can be one family, one person, living life one season to the next. Such are the stories we hear at family gatherings, be they around a campfire, kitchen table, or fence post. As fellow Wisconsinite storyteller and documentarian Jeremy Apps explains:

My father and my uncles were storytellers, and so were several of the neighbors in the farming community where I grew up in central Wisconsin. Family members told stories when we gathered for celebrations, birthday parties, anniversaries, and at Christmas and Thanksgiving family affairs. Our farm neighbors told stories during threshing and wood sawing bees, while they waited at the grist mill for their cow feed to be ground, and when they came to town on Saturday nights and waited for their wives to grocery shop. These stories were always entertaining, as many of them had a humorous bent to them, but they were also filled with information—how the cattle were surviving during the summer drought, what price Sam got for his potato crop and how he managed to get that price. How the weather this year was not nearly as bad as the weather twenty years ago. Many of the stories were also sad, such as how Frank was making it on his poor farm since his wife died and left him with three kids to fee and care for.

Telling Your Own Story

When I read App’s words and see his work like A Farm Winter, I see the shine of the pivotal truth he wrote in Telling Your Own Story….

Click here for more on this documentary.

Your stories are snippets of history.

Never, EVER, sell your own story short. Whether you weave your experiences with imagined elements or you stitch the raw details together for all to know, YOUR story matters.

Now, tell it aloud.

Hear the sounds of the words you choose, the rhythm they create like the genealogies repeated by the Maori over and over as the story is told by the teller. Listen to the nuances of your characters’ voices–what words embody the tones you use when your voice dresses up as each character? What words bring sensory feeling to the settings you describe?

There is beauty in your story’s language, my fellow writers. Share it with the sparks and stars, and see its magic pass from one generation to the next.~

~COMING SOON!~

Would you believe I’m actually working on a humor writing workshop for my university this summer? I’m still working out how I got roped into that, too. Plus we need to FINALLY talk about the process of choosing character names. Let’s not forget studying those character archetypes that cross time and culture! There’s lots of literary fun to share over the coming months, not to mention some more kickin’ author interviews.

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

#ProudMom Moment! My Daughter Blondie Shares Her #Fantasy #Fiction.

Happy Mother’s Day, my fellow creatives!

Whether you’re a mother or you’re the one who mothers; whether your mom is present for a hug, or a wave, or a kiss heavenward, take a moment to share love with those who share their nurturing love with you.

To celebrate Mother’s Day, Blondie has finished her pictures and story so I can share them here with you. Looks like a day off for me!

Blondie adores Toothless from How to Train Your Dragon, as you can see. 🙂

Welcome, my friends, to Blondie’s story: THE FOUR REALMS.

The Four Realms #1: Four Kingdoms

T’was the winter of the fall of Tyrannus when the realm was divided into four kingdoms. The Kingdom of Dragons was the most powerful of them all. King Flamescale ruled the land. He was a ruthless, unforgiving king, and treated people from other kingdoms with no respect. The neighboring kingdoms often rebelled against him with no success. They were powerless against him. One of those kingdoms was not really a kingdom. It was the QUEENDOM of Foxes. The queen was none other than the wielder of the Vermillion Sword, Queen Scarletfire. She was a born warrior and was kind to her people. She never really trusted other kingdoms and their ways, even though they fought for the same purpose. The wolf kingdom was mostly the same way. The king was the wielder of the Axe of Titor, King Siberius. He was the leader of a great pack and took care of them all. The wolf kingdom and the fox queendom hardly knew each other existed, until one day

The king of hawks, King Skyfighter, turned rouge over the years, so he decided to attack.

Hundreds, thousands, millions of hawks came from the sky and attacked the foxes and wolves. They barely had time to suit up for war. CHARGE!!!! The wolves and foxes were fighting separately at first, until Scarlerfire saved Siberius from a diving hawk. Then, in return, Siberius saved Scarletfire from a hawk, too. Soon, the kingdoms were working side by side. Seeing they were losing, the hawks retreated hastily. Meanwhile, King Flamescale oversaw the entire battle from the battle from his palace. He was worried about the kingdom and queendom might attack his kingdom. So he thought of a plan to get rid of their leaders. He called the king and queen to his palace and said, “Wait out in the field you fought the hawks so we can pay tribute to the dead.” It sounded pretty suspicious, since the King rarely did so, but they obeyed.

As the sun went down, Scarletfire and Siberius waited. Then, dragons of every size, shape, and color imaginable came roaring from the skies. The king and queen realized the Dragon King had the whole thing rigged. So, under the cover of darkness, Scarletfire and Siberius jumped onto the dragon army’s highest general, and steered him toward the palace. The general was none other than Toothless the Night Fury, confused and lost, and decided to join the army. The entire army followed Toothless, unaware what in the world was going on. Scarletfire and Siberius stormed into the king’s throne room.

“(You’re still alive?! Darn army has failed me again.)Well, looks like you caught me red pawed.” The king said, smiling slyly.

“You tricked us, you sniveling worm.” Siberius snarled. “Are you going to kill me? Ha! It would disgrace the legacy of the dragons if their greatest king was slain by two mutts.”

“There are three things wrong with that. One, yes, we are. Two, you are the WORST KING EVER. And three, WE ARE NOT IN ANY WAY MUTTS!!!!” Scarletfire roared, stabbing the king in the wing.

“CURSE YOU, YOU DAFT DOGS!!!!” the king yelled, slashing at Scarletfire, missing, and hitting Siberius in the face. Siberius growled and cut at the king’s legs. The king, crippled, began breathing fire EVERYWHERE. Scarletfire then leapt and blinded the king with her sword. The king, beyond enraged by this point, screamed and tried to swipe and scorch Siberius and Scarletfire. Together, they jumped and slashed at the king’s unprotected chest.

The king shrieked, and was no more.

From that night forward, the dragons, wolves and foxes built a new civilization and lived in peace. The hawks remained rouge and kept themselves hidden in the shadows, plotting their revenge. Rumor has it that there is a lost heir to the dragon throne, but that’s for another time.

(P.S, Toothless met Hiccup again and promised to come back to the Realm again and bring his friends. But that is for another time)

This historic legend and novel is by: Blondie the Dragon Tamer

I’m so proud of my eldest! She’s even working on a new story about a girl forced by her awful aunt to face a wizard. “Can I post my story on your website when I’m done?” she asks.

Me on the outside: “Of course, Kiddo!”

Me on the inside:

This Mother’s Day, I hope you find many moments to dance on the inside as well as the out. Read on, share on, and write on, my friends!

#Writing #Music: #TwoStepsFromHell

Welcome back, fellow creatives! I hope spring brings you days of renewal and hope. I’m in a daze with all the conference work for university, but there’s light at the end of the tunnel! With the right music and support, I can pace myself to reach that light.

We all learned when we were wee that music carries a special storytelling power. Maybe there was that one movie soundtrack you listened to over and over again to relive your favorite scenes. Maybe there was a favorite musical where the songs of characters help tell the story, or an opera where the emotions of instruments and characters alike blended into one voice. I was very much a soundtrack child, but my father’s love of New Age music had its influences on me, too, and one album in particular got a play on our stereos: David Arkenstone‘s Quest of the Dream Warrior.

Now you may be wondering why I titled this blog post Two Steps from Hell and here I’m sharing New Age from the 90s. Hold yer hightops, I’m getting there.

In a highly, highly visually-charged culture like the U.S. of A., engaging in music that told a story–no stage, no movie, no book, just music–felt very unique to me as kid. Music like this feels more…more open to the possibility of telling multiple stories. Yes, Arkenstone had one story in mind when he composed the music, but because the visuals of the story were left to the audience, I felt like I could take those sounds and make a story of my own. (I did, too. It involved a band of bandits helping a kid thwart an evil sorcerer. At one point he became a giant eagle for coolness. Wonder where that story is…Anyway.)

This is where Thomas Bergersen comes in. Another kid from a small town, though his is in Norway. Just another soul who loved music. But while I enjoyed taking my lessons and then moving to words, Bergersen taught himself composition and orchestration. In the mid-2000s He partnered with Nick Phoenix, a composer based in the States, and together they created Two Steps from Hell. Their music has appeared in loads of movie trailers like Batman v. Superman, but I’d rather focus on their albums here, for what is this month of May but a time to celebrate the fantasy storytelling we love?

Yes, my friends, Wyrd and Wonder is back! Let us see how story-music of others may inspire your own storytelling.

Perhaps your characters are on a journey through a land of light and mystery. Perhaps danger runs as freely as the river alongside their road. Can’t you feel it in the strings, in the herald of the brass singing in the air?

Oh, don’t let the synth take you out of this moment. One of my favorite elements of Two Steps from Hell is their ability to bring voice and synth together with the orchestra. There is a timelessness here, a genre-bending that allows the music to reach those in the future, the past, or an Elsewhere altogether.

Like the sea. Perhaps your characters are not upon the land at all, but upon the water, their ship leaping with the crest of every tumultuous wave as they close in upon the enemy before it can attack the innocents ashore.

Fear is cast overboard as your characters take to the cannons, take to the ropes, take to the enemy’s hull and climb, swords divine with sunlight as they battle the enemy from hull to stern.

Two Steps from Hell have several albums available, and I wish dearly I could review them all here. While all albums are epic, each also carries its own identity. Dragon brings such an air to it through the strings without synth, for instance, while Skyworld embraces that synth to add the presence of technology to the setting. Dragon‘s trilling strings show us the dragon wings beating in large, sweeping motions. It cuts the clouds as the warring windjammers upon the water. When the violins run their scales downwards, you know the dragon is diving…to aid? To conquer? It is up to you, storytellers.

For that is the joy of music such as this. It is up to us to create the story, to share what we see when the story is told. Whether the story takes us on a journey of swashbuckling under the sun or through the shadowed realm of our own grief, music guides us into the unknown on wings of hope.

These are the days where we celebrate Impossiblity’s rightful place in our imaginations. All is never truly lost if we take heart. Even the courage of one soul can be enough to vanquish the darkness and rise a legend.

~STAY TUNED!~

I’m really excited to share my pilot podcast episode next week! We’ll study the story-starts of some fantasy books throughout May–for of course we must–and hopefully by the end of May we’ll know if this hair-brained scheme of mine is, um, you know, going to work, and what have you.

I’ve got a publisher interview coming up as well as some ponderings about names and the importance of oral storytelling in the home. Blondie is also finishing up the illustrations for her story to share here about The Four Realms, which makes my heart smile.

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

#AuthorInterview: #Indie #Writer Rob D. Scott Discusses #Writing and #Submitting #ShortStories. Thanks, @RDScott9!

Image from Wisconsin Public Radio

A good morrow to you, my fellow creatives! The cold clouds of April blanket my Wisconsin skies these days. The world is a palette of tans and browns, the wee specks of new green, new life, just barely peeking.

There is, however, always new life to be found in our words. I’m excited to share an indie author who has planted a number of stories across multiple publications. My friends, please welcome Rob D. Scott!

Let’s work through the niceties first. Tell us a bit about yourself, please!

I live in Edinburgh and work in a community college. I only started creative writing three years ago, which is crazy. I should have started years ago. That’s life.

Look for updates from Rob on Facebook as well as Twitter.

It was winter and a period of really awful weather. I started writing a novel for something to do and out of curiosity. I enjoyed it, so kept going. I read books about writing, did a short on-line course, and started submitting short stories to on-line magazines and competitions while I worked on my first novel (which is now hiding in a cupboard). I’ve started a second one, which will hopefully turn out much better.

I find a lot of writing inspiration in the rural landscape of my state, Wisconsin. How would you say the urban setting of Edinburgh—or the countryside of Scotland—inspire your storytelling?

Edinburgh is a beautiful, amazing city and so many writers have used it. I haven’t that much yet. The countryside is more likely to find their way into my stories.

I usually start a new piece of writing using a memory (recent or distant) of a place or moment; that might be in the city or countryside. I write it almost as a factual description and the story develops from there. Stephen King in his book ‘On Writing’ talks about fossils that writers dig up and that’s what I feel I do. Once I find the right fossil, it soon turns into fiction; (to mix my metaphors) it’s like a paper ship floating down a stream. I just go with it and see where it goes. I might have an idea where it’ll end up, but not always.

Image from University of Edinburgh

What literary pilgrimages have you gone on?

When I was twenty-one, I went for a job interview in a town at the other end of the country just so I could visit the Thomas Hardy museum there. That’s not very ethical – especially as they paid for my travel and a hotel! I was first in the museum in my horrible new interview suit and I lingered there too long and was late for the interview. I didn’t get the job, but the museum was great and the countryside from the train ride was amazing. I had forgotten all about that. I should write that up as a story!

Someday, I’ll visit the USA and go to lots of writers’ houses and museums. Carson McCullers is a big favourite, so I would maybe head down there first.

Thomas Hardy’s home (image from The Acorn Inn)

As you should! 🙂
Nothing saps my creativity like a telephone call from my children’s school principal. What is your writing Kryptonite, and how do you overcome it?

I really have no excuses not to produce thousands of words every day. I work but I have free time; especially in lockdown. I am amazed how people with busy lives and family responsibilities (like yourself) manage to write.

Although I don’t think I could live without it now, writing is not the top of my priorities. Work, other people, a day in the countryside, a trip to the cinema, etc make me put down my pen. Life comes first, writing second.

Have you read anything that made you think differently about fiction?

I just absolutely love this Ray Bradbury quote:

“Love. Fall in love and stay in love. Write only what you love, and love what you write. The key word is love. You have to get up in the morning and write something you love, something to live for.”

As an amateur/beginner writer, this makes a lot of sense, and is great advice – I guess for successful authors as well. We’re all different – so just do your thing. Give it your best shot. Try to find something that’s meaningful to you in some way to keep yourself going through the trickier times.

Your encouragement here reminds me of the theme of hope I see in your flash fiction “Goodbye, Frenetikov.” The beautiful level of detail in the beginning uniquely balances with the uncertainty felt in the end. Do you find yourself drawn to themes uplifting to readers, or do you take readers into the darker feeling as well?

Thank you for your comments. I wrote a few very sad stories during lockdown. I think I’m out of that, now. In fact, I’ve just started writing a longer piece, and before I started, I decided that it should be something with a very positive theme. If I am going to spend the next few months on it, given what’s happening in the world right now, I feel that’s where I would like to spend my writing time.

In writing short fiction, you have to hook readers to care about characters, ground them in your story’s setting, and leave them pondering about your story’s end all within a few hundred to a thousand words. (“You Die If You Worry” comes to mind.) Can you walk us through the process of crafting your fiction’s pacing and language to accomplish so much so quickly?

I am very much learning the craft and that there are many different ways to produce a successful short story. The word-length requirements (e.g. 300, 500, 750, 1000, 1500, 2000) can influence the plan. I usually write the story to its best, natural length and worry about where to submit to later.

If I pick up a collection of published short stories, what strikes me is the quality of each line, the language. So that is the number one goal for me; the quality of each sentence, the appeal and magic of the jumble of words. For the structure, I really only think in terms of a beginning, middle and ending. You get in the car, start it up, go for a drive and stop somewhere. Apart from that, there is so much variety in short fiction – anything goes. For example, you might have no dialogue or almost all dialogue in a story.

With very short fiction it can be frustrating not being able to fully flesh out character, setting etc, in the way a novel allows you to, but equally that provides much of the fun and challenge of the form – perhaps like poetry – to find evocative/resonant ways to hint at what’s missing, the spaces in between.

You are published in a wide variety of literary magazines and anthologies. Do you have any favorites you’d like to recommend?

The ones that accepted me are the best, of course!

HA! Sorry, go on. 🙂

There really is something for every taste out there. Much of my experience of the writing for the literary world has been for on-line magazines. The creativity and quality right across the board is very impressive.

I have to say Popshot magazine is just a beautiful object, as well as the great writing. It’s a lovely paper magazine with poetry, fiction and illustrations. I was lucky to get in there once. They commissioned an illustrator to produce something to accompany my short story, which was just amazing – that someone would do that.

Thank you for the recommendation! I’ll have to check them out. What would you consider to be common traps for aspiring writers? I imagine there are a few when it comes to short fic submissions.

I had to learn a lot about the technical side of things – voice, point of view, plot and so on. I think it’s good to remember there is a lot to learn (I notice in your other interviews, writers say this, too).

In terms of submitting to litmags, not understanding at first why you get so many rejections can prove very disheartening. And it would be a great shame if beginner writers gave up because of that.

You learn that you have to know your audience and the market to give yourself a chance, so submitting to the right sort of magazines is important. That means reading the stories in the magazines to guess if yours might work for them, which is both enjoyable and a great way to learn from other writers’ work.

I must mention editors here because they really are the superheroes, along with their ‘readers’. They often do the job for love not money and are the people who choose your story. So be nice to them! And when you submit, follow all of their guidelines very carefully about format, word length and so on.

If you’re lucky they will help and even give a little advice. For some reason, I’ve found sci-fi editors to be especially supportive – or perhaps they’re just super-skilled at letting people down gently! I’ve been trying to ‘find a home’ for a couple of sci-fi stories since I started writing, with no luck. When I started, I kept a folder of ‘nice rejections’ to cheer myself up when the piles of rejections got too much.

I think one useful tip is that if there is a ‘themed call’ for an issue, you might have a better chance with that if you have a story to fit the theme.

As an indie author who is also having a go at lit mag submissions, I’d love to ask about your process in searching magazines and sending multiple pieces. Do you find yourself writing your stories first and then finding magazines that fit the story, or do you scope out the magazine themes first and then craft stories to fit them? I noticed you recently published in a “lockdown” themed anthology, for example.

Good luck with your submissions.

Thanks!

I usually write my story then look for a place to submit. The word length is a big decider on where to submit to, along with the house-style of the magazine.

Calls for submissions for a themed issue – with prompts such as ‘Road trip’, ‘First love’ or ‘Winter’ – can be a great way to get going on a story that you can end up submitting to more than one place or developing into something longer. The theme of the ‘Lockdown’ anthology I was published in fitted with something I was writing at the time and I spotted their call.

The submission pages are crucial. They describe the type of story they are looking for and often say ‘read some of our stories to get a feel of what we’re looking for’. That’s a must, but it’s also great to read the stories. You mentioned, Jean, that you’re inspired by the countryside – there are litmags that have a specific focus on that.

After three years of submitting, I have a much better idea of who might consider or accept a particular type of story.

Having said all of that, it is an amazing, random-feeling process, of being in the right place, at the right time, with a story that appeals to a particular editor, in terms of what they are looking for right then. Getting published anywhere – no matter how big or small – is an enormous thrill, but of course you set targets and have favourites you aim to get into.

Receiving acceptances are tremendously encouraging and validating. There really is nothing else like it. There’s more than a little ego and pride involved there, of course. But, it’s also reward for hard work and effort. And for not giving up.

Let’s wrap up with a little inspiration. Writing and reading can, to me, be a transformative experience. Do you view writing as a kind of spiritual practice?

Yes, in a way. It is certainly a deeply personal process, and also both reflective and instinctive. I often find it quite meditative, even therapeutic. It can be fulfilling and quite emotional at times – as you go through your imagined characters’ experiences. Although it’s a solitary activity you are very engaged with memories and thoughts of other people and the world.

Maybe it sounds corny, but I think words and the way they can be strung together really are magical. It expresses who we are.

Making the connection with a reader is very special too – even if you never meet them beyond a ‘like’ on Twitter or Facebook, or a purchased magazine. The thought that people read your work and find something interesting, rewarding, enjoyable makes the whole process more of a communal, shared activity. It must be great to have people buy your book because they know your work and love your characters. That’s something to aim for in future, for me.

A beautiful encouragement we all should aspire to, Rob. Thank you so much for sharing your time and thoughts here!

~STAY TUNED!~

Who else is ready for a month of Wyrd and Wonder-full fantasy? I am!

I’m super stoked to share an interview from a new SFF publisher as well some amazing music to inspire the epic adventurer within you. There’s also a side project of mine in the works that is so close to “publication”…

Every semester I encourage my newest group of students to read for fun to improve their writing skills, but then here I am, not getting much reading in. Oh, I’d just tell myself the excuse that if I commit to a book, I want to get something out of it as a reader and a writer, and how am I to know what book will give me that? I’ll just watch what my favorite book bloggers recommend and just go from there.

But that doesn’t force me to commit to reading, and that’s just not cool. Sure, time has always been that elusive treasure in this life as a mother, teacher, and writer. That’s not an excuse, though. Besides, there are plenty of other writers with jobs who don’t have much time to read and–

Oooooh.

And so, I decided to start a podcast.

Please watch for updates in May while I get this wee podcast off the ground. x

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

#WriterProblems: #StoryEndings and #LooseEnds (Also, a Defense of #EarwigandtheWitch)

Hello hello, one and all, aaaaaaand April Fools to you!

Nope, I don’t have my article on the importance of names done yet. I’m still waiting on some research to come from the library. While waiting, I perused a Diana Wynne Jones story that had gotten a lot of mixed press in the States:

I’m talking about the little Middle Grade fantasy Earwig and the Witch.

And by “little,” I mean little. The entire story is 117 pages with large-print font and illustrations. Like Wild Robert, the chapters jump into hijinks and misadventure quickly and wrap up just as quickly. Books like this are excellent for kids transitioning from readers to chapter books, as it has a balanced mix of simple and complex sentences as well as connecting events between chapters.

However, there are “drawbacks” to such storytelling, if you wish to call them that, for those drawbacks come to a head when a shorter story is made into a feature film. Yes, there have been some amazing films made from short stories (Shawshank Redemption, anyone?) so I’m not saying shorter stories could never be adapted. But that is the key, isn’t it?

Adapting.

Things have to change in a story when it changes mediums, and from what I’m hearing about the film, Studio Ghibli (who has a good history with Jones’ work) stay fairly true to the story which, if you listen to the reviewer here, is extremely detrimental to the film. Why should the audience care about a kid whose entire goal is to make grownups do what she wants? Where did this kid come from? What was up with the witch leaving this baby behind? Why is the whole story just in this witch’s house? This is a movie where almost nothing happens, etc etc etc.

After reading the book, I recalled having similar reactions to Neil Gaiman’s Coraline. What IS the Beldam? How does the cat move between worlds? What’s up with those creepy rats? How on earth didn’t previous tenants wonder about that freaky-ass door that’s actually a mouth or throat that’s actually OLDER than the Beldam?

I also realized for Gaiman’s intended audience, these questions are not important to the central story: Coraline growing through her experience with the Beldam and being thankful for the parents and life she already has. That’s why the story doesn’t have Coraline discovering ancient texts about the Beldam, or meeting the Smithy who crafted the one key, or any of those things.

They. Didn’t. Matter.

Even the film adaptation of Coraline didn’t try to answer all those questions. Sure, it added some color and creepy songs to the Other Mother’s world, but the film left those loose ends, well, loose.

Something else that seems to be lost in the mix is that these stories–Coraline and Earwig and the Witch–are both Middle Grade novels. That means they are SHORT and must STAY short for its audience. Yes, yes, there are longer MG novels out there now, but if you go back a decade or two, you’ll see these length requirements were adhered to pretty closely. Anyone who’s submitted short fiction to a journal or magazine knows the importance of that length requirement: if your story is too long, it won’t even be considered.

So, after all this rambling because I don’t have to worry about word counts on a blog (though I should, according to some readers), let’s see if Earwig and the Witch really is a story where “nothing happens.”

The opening sequence that movie reviewer Stuckman praised is not actually in the book; rather, the one snippet we get of young Earwig’s backstory comes in exposition during the first scene. A “very strange couple” have come during the orphanage’s visitation day. Foster parents can come and select a child to take with them, and this “very strange couple” are the first to pay Earwig any attention.

“Erica has been with us since she was a baby,” Mrs. Briggs said brightly, seeing the way [the couple was] looking. She did not say, because she always thought it was so peculiar, that Earwig had been left on the doorstep of St. Morwald’s early one morning with a note pinned to her shawl. The note said: Got the other twelve witches all chasing me. I’ll be back for her when I’ve shook them off. It may take years. Her name is Earwig.
The Matron and the Assistant Matron scratched their heads over this. The Assistant Matron said, “If this mother’s one of thirteen, she must be a witch who has annoyed the rest of her coven.”
“Nonsense!” said the Matron.
“But,” said the Assistant Matron, “this means that the baby could be a witch as well.”
Matron said “Nonsense!” again. “There are no such things as witches.”
Mrs. Briggs had never told Earwig about the note, nor that her name really was Earwig.

I must say that I can’t blame Ghibli for imagining what that chase would have looked like and putting that scene in their film. There’s just one problem.

Earwig’s mother never appears in this story. Nor do the other witches.

Oh, Ghibli tries to tie the loose end up in their own way for the film, and from my understanding the ending feels…like a chapter break instead of an actual conclusion. So I’m not sure where Ghibli thought it could take this tale.

Honestly, I think the biggest problem people have with Earwig and the Witch is the fact the story is NOT about a girl reuniting with her mother or some other epic quest. Not all stories are grand in scale.

For some young readers, watching a child learn how to get adults to do what she wants is plenty grand already.

Because this is not a story about redemption, either; that is, the bratty Earwig does not mend her ways to become a nice, sweet girl who shares all sorts of lovey feelings for her new family. Nope. She’s still happy to have others do what she wants.

The character growth comes when Earwig wants to keep getting her way. At the orphanage, we understand that Earwig never had to do anything to get her way.

[Earwig] was perfectly happy at St. Morwald’s. She liked the clean smell of polish everywhere and the bright, sunny rooms. She liked the people there. This was because everyone, from Mrs. Briggs the Matron to the newest and smallest children, did exactly what Earwig wanted.

After the “strange couple” take Earwig to their home, she quickly learns their intentions:

“Now let’s get a few things straight. My name is Bella Yaga and I am a witch. I’ve brought you here because I need another pair of hands. If you work hard and do what you’re told like a good girl, I shan’t do anything to hurt you.”

Earwig has never had to work like this before, and of course she hates it. In dealing with a witch, though, she can’t do her typical schpiel of talking people into doing what she wants. There’s magic in the mix now, and so she’s going to have to learn magic to fight magic.

THAT is what this story is about. The title isn’t Earwig and the Lost Coven or The Intentional Orphan or Escape from Bella Yaga or Whatever Happened to Mummy Witch?

Jones wrote this story with the conflict between child and adult at the center. Plenty of kids struggle with authority as it is, even moreso when the authority is not a parent. What kid wouldn’t want their most hated teacher to look ridiculous, if only for a moment?

Jones’ Earwig and the Witch revolves around the conflict between Earwig and Bella Yaga. Anyone else, anything else, is periphery. That’s why the outside world plays little part in Earwig’s life once she’s in Yaga’s home. Even the Mandrake, the “man”–or demon, or whatever he is–of the “strange couple” does not interact with Earwig much. He is the only thing in that house more powerful than Bella Yaga, Earwig thinks…until she finally puts herself to work to learn magic with the help of Thomas, Bella Yaga’s cat.

Aren’t these illustrations by Paul Zelinsky a scream?

It’s not easy to get a kid to want to work at something. Believe me, I know. 🙂 Perhaps a typical audience may not see this as growth in Earwig as a character, but for a child and one who’s worked with children, this is HUGE. Earwig has never had to work at anything before. Sure, Bella Yaga’s got her doing plenty of awful chores, be it slicing snake skins or gathering nettles from the garden, but those awful chores only motivate Earwig to learn magic quickly so she can put a spell on Bella Yaga and give her that “extra pair of hands” she wanted so badly. (You can see the earlier illustration for the result of Earwig’s work.)

When Bella Yaga rages over the new “extra hands” and sends a torrent of magic worms at Earwig, Earwig guides the worms into what she thinks is the bathroom next to her. Being a magic house, though, the walls don’t always work like normal walls, so Earwig ends up sending all the worms into the Mandrake’s room instead. Being one who can control demons and spirits and such, the Mandrake isn’t exactly one to surprise with magic worms. After lots of fire and shrieking, the Mandrake calls Earwig to come from her hiding place. Earwig readily admits that hiding the worms was a mistake, but the Mandrake knows Earwig did not make the worms and declared Bella Yaga would be training Earwig properly from now on. Earwig does not hoot or holler her victory, but instead approaches Bella Yaga with care.

She carried Thomas across the hall into the workroom. Bella Yaga, looking red and harried, was picking up broken glass and bits of mixing bowls. She turned her blue eye nastily in Earwig’s direction. Earwig said quickly, before Bella Yaga could speak,
“Please, I’ve come for my first magic lesson.”
Bella Yaga sighed angrily. “All right,” she said. “You win–for now. But I wish I knew how you did it!”

When the conflict ends, so does the story, and Jones knows it. Apart from a couple pages of wrap-up, Earwig and the Witch is over. Are we all curious about what kind of witch Earwig could grow up to be? Sure. I’m guessing Studio Ghibli was too, and that’s why they teased more to come at the end of their film.

But questions are not loose ends. Sure, I’d love to learn more about the history of the village in Shirley Jackson’s “The Lottery.” What really went down between two friends to motivate one to bury the other alive in “The Cask of Amontillado”? Whatever happened to The Misfit after he killed the family in “A Good Man is Hard to Find”?

A story has to end, and that end comes when the conflict ends. Even the big ol’ multi-book series will start and end their installments over the rise and fall of a specific conflict.

So storytellers, please do not feel like you have to answer all the questions and explore all the lands and dive into all the characters. Look at the conflict that drives your story forward, and ask yourself: Does ____ matter relate at all to this conflict? If you can’t find a good answer, then chances are, you know the answer is no. And this goes for novel writing as well as short fiction. Sure, novels do not demand thrift in words like short stories do, but if readers feel like you’re taking them on a detour from the main conflict, they’re going to start asking questions, and lots of them.

And those are questions you as a writer will have to answer.

~STAY TUNED!~

Honestly, the research and discussion on naming characters is coming, as is a post about the wondrous music of Two Steps from Hell. More author and publisher interviews are on their way as well, and I’m also *this close* to getting Blondie to share her dragon story here.

Just look at the drama packed into these characters! xxxxxx

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

#AuthorInterview: #indie #writer @julidrevezzo shares her latest #FantasyRomance and #lessonslearned on building a #platform

Beware the Ides of March, my friends!

I have just been…uffdah, it’s been a March. Nothing bad, thank heaven, but the plagiarism this term has been particularly ugly–students stealing from classmates, cheating with paraphrasing software, buying papers from paper mills, and so on. Some of my hunts for proof have been successful, some not. Either way, it’s extremely frustrating.

On the positive side, Biff has found a lot of joy in research writing! He spent weeks gathering facts and drawing pictures for his big research project. I may just have to recruit Biff to help me write titles from now on, as his title gathered quite a bit of attention from family and friends. 🙂

Blondie is still working on her own story involving wolves, foxes, and dragons–hopefully I can get her to type the first installment here, especially considering her laments of, “What can I do during Spring Break? I’ll be so boooored.” Welp, this would give her something to do, lol.

Bash has been doing so wonderfully at school, I could cry. Having the extra support from his IEP (Individual Education Plan) has made all the difference. His support teacher encourages his creativity while also helping him stabilize his reactions, and his teacher’s been extremely flexible while also keeping control in the classroom, which is HUGE.

So writing hasn’t happened much this month, but the blessings definitely outweigh the problems. x

I’m also thankful for each and every one of you, so it’s a joy when I can spread good news about your work. Antique Magic series author Juli D. Revezzo and I had another conversation about her goings on and latest work, and now I can share our conversation with you. Welcome back, Juli!

Thank you. Glad to be here.

We last spoke in October 2019 about your work with historical romance and other magical stories. I see you’ve been continuing two different series with publications in 2020. Before we hear about the books themselves, can you first share your process on how you the character arcs and plots straight for such different story-worlds?

Notes! Tons of notes. I keep most of them in old fashioned spiral bound notebooks, and supplement that with word doc files, when the spiral bounds get too unruly. (I do. I have boxes and cabinets full, if you don’t believe me!)

Luckily, in my Antique Magic series, I kept that to one pov throughout the series, the arcs many revolved around her relationships with the minor characters.

Okay, NOW tell us about your latest work.

The latest, well, since we last spoke, I finished off my other series, the paranormal romance series: Stewards War, so it’s completing Stacy’s war against the evil god Balor. If you haven’t read that one, she owns a sacred battleground for an ongoing battle between the mythical Tuatha dé Danann and Balor. The book we talked about in October, Bitter Thorn Tribe, saw her digesting everything that happened in the previous book, Keeper of the Grove and dealing with an unexpected magical threat, while my soon-to-be-released novel Druid Defiance, sees her making a major parlay against Balor. It will wrap up the series, so I can’t say more than that without spoilers. 😉

Sometimes we need to visit a place, be it the setting of a story or a home of a favorite author, in order to be inspired. What literary pilgrimages have you gone on?

I’ve visited Fort Pickens (which is a feature in my Antique Magic series) and the mountains in Druid Warrior’s Heart and those in …well, the forthcoming last book in Stewards War series (Druid Defiance) are inspired by the mountains of North Carolina, which I’ve visited several times.

Your stories cross multiple centuries, so it’s understandable that names are going to change depending on the time period, culture, and so on. How do you select the names of your characters?

The Stewards War series, I assume you mean. The heroes keep their same names across the centuries, in order to keep from confusing everyone. They…ha. Funny story, but when I wrote the first book, I had no intention of turning it into a series, so I picked names that sounded old and either came from history, or mythology. Thinking the modern sounding ones would be good enough. But they branched out, so the main ones (Stacy, Aaron, Erika, Jim and Isaac) needed more friends and family so I had to do some mythology dives.

 (For instance: Dylen, Lugh, and Brighid all came from Celtic mythology. Éle is a faery queen name; Caírech, Fintan, Dermot, and Gwenevieve are Irish names, Maedus is named for a son of a legendary Iberian prince; Aaron and Isaac, and Ruth well, their names are Biblical, of course. Lilly comes from… just flowers and Diarrt is a spin on dart, because what were good names 7,000 or 8,000 years ago when those characters lived? Who knows? I only wish I’d given Aaron and Isaac better—more Irish—names. 🙂 )

In Antique Magic, their names were contemporary, so they were much easier to choose!

I’m always on the lookout for good books on the writing craft. Do you have any recommendations?

I’m reading The Heroine’s Journey by Gail Carriger. So far, it’s pretty good. And I’ve read 365 days of Writing Prompts for Romance Writers by Kim Knight, over the Thanksgiving holiday. It was helpful—and not just for the romance genre, I think.

Oooo, thanks for the recommendations! I’ll have to check those out. Now when I look back, I see you published your first story in a compilation in 2011. How did publishing your first story change your process of writing?

From what I remember, (2011 was an eon ago!) it didn’t? I just had to have the story finished and out by a deadline so I had to write it fast. Since then, I’ve plotted more than I was doing back then; I’ve become more of a plotser, (plantser?) than a true pantser, but I still usually pants my way through the initial ideas of stories. Usually only the first half of the notes, now, to be honest.

From 2011 onward, you have been constantly putting out awesome stories! I’m lucky if I can get one thing published per year. How do you maintain a strong brainstorm-to-publication routine for yourself so that readers can count on new work from you every year?

Aw, thank you for your kind words, Jean Lee. As you say, I’m constantly working on something. While we’re talking, here, about three different books—two recently released and one in pre-order—I’ve got one manuscript finished that I need to do a first read and edit on, and one I’m not quite that far into (*ducks*), and I’m making notes for beginning another—and I have one that I need to get printed out to revamp. Yes, all at once. I work a little bit on this one one day, a little on that one the next. One might be half done at 40k words while one’s only 2k words; and one might be half-edited. *shrugs* It’s just the way I’ve always done things. Ideas I can’t get to right away, I just scribble them down in notebooks to come back to.

Your years of writing have seen a lot of change to the digital market and concept of “author platform.” Can you share a few lessons you’ve learned about marketing your books?

OMG, how much time do you have??

You can’t not do it, so just get to it. But I differ in one thing that everyone else says is a must. Yakking about your unpublished books online. Waste of time. Why do I say that? Why, I was blogging about the books I was sending out to publishers way back, starting in 2000 (that site’s since crashed and lost, alas), and in 2010, I still didn’t have a book out. And I had a professional fellow say to me. “Why aren’t you blogging it?”

Dude, I had been for years at that point! Total waste of my time. Your mileage may vary, but that was my experience and proof that building a platform years before you have a published product to sell was a waste. All the time I spent blogging and coding and recoding, I could have spent writing.

Lesson two: The minute you think you have something figured out, it changes.

Don’t believe that Facebook and Amazon and the all-important newsletter list providers will be around forever—they probably won’t. Tomorrow, they’ll be today’s Myspace. Just expect it.

Thanks so much for sharing your lovely insights, Juli! Let’s wrap up with something you’ve learned from experience. What would you consider to be common traps for aspiring writers?

Focusing on everything but their writing, and believing the first thing they finish is good. It’s not. Not spellchecking, not proofreading. Thinking that your market will never change. Believe me, it will.

And, conversely, another trap is not writing to market.

(???Do you have a headache yet? So do I!)

Just find the best fit for your story you can and send it out. And remember to keep learning. I remember someone saying (I can’t remember which writer I heard this from—Stephen King? Steinbeck? I forget which) but he said you’re never good enough. All you can do is keep writing, and keep improving on your last work, no matter what. But in the meantime, as Dean Wesley Smith says: do as good as you can, and send the book (or story) out, and write the next one, and do it again. 🙂

Here’s the synopsis of my latest book, Druid Defiance:

Destined for War…

As Steward, Stacy travels to her ancestral home in Ireland to wed. When she is granted access to the family’s sacred site, her presence opens a magical portal that brings her into a new version of the world. Does this mean the gods approve and her wedding can move forward or will the evil Balor object and end the world once and for all?

If you’d like to check it out, it’s available at Amazon:

About Juli D. Revezzo

Juli D. Revezzo loves fantasy and Celtic mythology and writing stories with all kinds of fantastical elements. She is the author of the Antique Magic paranormal series and the Stewards Wars and Celtic Stewards Chronicles series, the historical romances, Camden Girls series, Vesta’s Clockwork Companions, House of Dark Envy, Watchmaker’s Heart, and Lady of the Tarot, and more. She is also a member of the Independent Author Network and the Magic Appreciation Tour.

Website:  https://julidrevezzo.com/
Amazon Author Page: https://www.amazon.com/Juli-D.-Revezzo/e/B008AHVTLO
Newsletter http://bit.ly/signupforJulisnewsletter
Blog: https://julidrevezzo.com/blog/
Twitter: https://twitter.com/julidrevezzo
Facebook: https://www.facebook.com/julidrevezzo
Pinterest: https://www.pinterest.com/jewelsraven/
There’s also a board dedicated specifically to the Stewards War and Celtic Stewards Chronicles series: https://www.pinterest.com/jewelsraven/related-to-the-celtic-stewards-chronicles/
Instagram: https://www.instagram.com/julidrevezzo/
Goodreads: https://www.goodreads.com/author/show/5782712.Juli_D_Revezzo
BookBub: https://www.bookbub.com/authors/juli-d-revezzo

~STAY TUNED!~

I’m excited to share more indie interviews, including a small press fantasy publisher. It feels like the perfect way to help celebrate May’s Wyrd and Wonder!

We’ll also dig into the wonderful worlds opened to us through names, and let’s not forget the joy music brings to exploring new worlds…

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

#WriterProblems: Finding #Worldbuilding #Inspiration in #SmallTownLife

Hullo hullo, fellow creative souls! It’s lovely to have you back in this, Wisconsin’s Fake-Out Spring. (Never let the first thaw fool you. We’re bound to be snowed under for Easter.)

Once upon a time I shared some posts about the hidden pieces of historical inspiration as well as the peculiar locations in one’s small town that feel like a piece of fiction come to life.

I’d like to continue on this path today, as this pandemic has kept many in their homes. Some homes are in the midst of a bustling city, others out in the middle of nowhere. I’m not in one, but not quite the other, either. My town has neighborhoods (including one on the other side of the tracks), two gas stations, two bars, a library, and a post office. (We shan’t discuss the curious carnival or rock shop today…or the RV campground someone thought would be great to build between a cornfield and old industrial area. Yup, that’s scenic, all right.)

My town, you could say, is small. Built around a river mill and railroad, like so many other rural towns in this country. Just one of thousands, right? The kind teens are so determined to escape to “find themselves” elsewhere.

Well in all my travels through all the small towns as a kid, two towns always struck me as a little weird. Oh, they looked fine from the car: post offices, gas stations, bars, maybe a little general store, or a mechanic operating out of a shoddy barn. Bait and/or feed supplies. Houses of old siding and older brick with uneven sidewalks and prim gardens. The park playgrounds have lost their happy colors, the benches more often used for sharing crude notes than motherly conversations. I didn’t understand those notes as a kid, thinking them a sort of secret code. I bet such notes could be a secret code in a future story, couldn’t they? We’re so quick to dismiss such scrawlings as adults. We complain that the benches should be replaced, or at least painted. Then we remember that small towns often can’t afford such frivolities, and we let it all pass out of mind, just as we let the small towns we drive by pass from our minds.

Except, for me, the Ashippuns.

Let me explain.

First, there would be Old Ashippun.

Then, barely a few miles later, there would be…Ashippun.

Why on earth are there two Ashippuns, and why are they so close to one another? Was there some vicious family feud? Did someone lose land in a legendary poker game? I bet if you look at your state, province, county, parish, etc., you may just find your own version of the Ashippuns, too. Perhaps their origin stories tell the tales of escaped convicts, smuggled ales, or buried treasure. Or, perhaps their origins are blandly pleasant, full of nothing but nice people nicely settling down to build a nice town just a little ways up from the other nice town.

Or not.

Come on, I just HAD to share a bit of Hot Fuzz in a post like this. And if you haven’t seen Hot Fuzz, do. (Not with little kids, for the record.) It’s a masterpiece.

Are the Wisconsin Ashippuns rooted in seedy beginnings? Sadly, Wikipedia says we can blame the railroad for not coming close enough to the original settlement, founded a few years before Wisconsin achieved statehood. Still…the whole town didn’t move, just a portion. And the portion left behind was left to the past, to decay into posterity among the grassy hills and broken county roads. It reminds me of the small farming town where I grew up, a tiny gathering of homes around a railroad station hardly used, held at the mercy of a river that can irrigate plenty of cattle and corn farms one season or simply flood over all of them the next. No one stops at such a place, not when all the highways bypass it. Who would care about strange goings-on in a nothing sort of town with nothing sort of people?

I wondered about that as a kid. I wondered about that a lot as an adult. I wondered so hard I had to make up my own versions of the Ashippuns and put them in a story.

Old Sanctuary had never bothered with paved roads, let alone road signs. Who needed them in this dirt hole of a so-called town?

It would take a certain kind of soul to visit such the old, forgotten town, let alone live there. That certain kind of soul wouldn’t visit on a whim, either. There’d have to be a purpose, a special purpose, to come to a “so-called town” like this one. I was reminded of the Autumn Carnival in Ray Bradbury’s Something Wicked This Way Comes, its Autumn People eager to harvest desperate souls from small towns along its travels. Stephen King had a similar approach with the nefarious demon LeLand Gaunt selling people the one thing they desired most in Needful Things. Then another book came to mind: Kate Milford’s The Boneshaker.

And I knew what I needed to write.

See, The Boneshaker is a fascinating story. You’ve a young girl named Natalie coming into her own but still fiercely protective of her sick mother as they make ends meet in a small town. Many have their own little problems in a small town, problems that surely can be solved by the miracle cures advertised by the stranger Jake Limberleg and his traveling medicine show. But those cures come at a price. They always do.

We still see people paying that price in the real world, don’t we? Just replace “tonic” with “essential oil.” “Mixture” for “shake.” “Sure thing” for “time freedom.”

You’ve probably seen the ads on your social media, or gotten the messages from a person you went to school with ages ago. Social media has blessed those in every small town with the ability to reach out and connect with anyone anywhere, so they gather up the school year books and find the names online, and ding! The messages pour in. They say they want to catch up…and then invite you to a “business opportunity.”

All too often, people drink the dream. All too often, people drink nothing but poison.

Herbalife. Younique. Avon. LuLaRoe. Amway. Beachbody. Mary Kay. Scentsy. Shaklee. It Works. La Vel. Monat. DoTerra. Young Living. Optavia. Norwex. Color Street. There are dozens more, rising and collapsing every few years. They promise you the world by “social selling.” You can “change the world” by working in “pockets of your time” on your phone selling cosmetics. Insurance. Vitamins. Kids’ books. Weight Loss. Shampoo. Cleaning products. They have oils that can cure Autism and cancer. They have silver cloths that can be used to clean a toilet and your face in one go. They have wax melts to calm animals and plastic wraps to eliminate your fat.

They have everything the evil doctors and big corporations don’t want you to have. Capitalist society is such a crime. You can escape it and come to the real people who care about you and want you to succeed in the true way. You can be a part of the multi-level marketing family…for a start-up fee. For a monthly renewal fee. And be sure to get your inventory updated. Be sure to try the products for yourself. Be sure to sell the life to your family, your friends, your neighbors. And if your loved ones don’t support you? They’re toxic. Cut them out of your life. You don’t need them, you have your new family…

Nicole points to her Suzy Ray! bag with her drink straw and smiles extra-wide. “Suzy Ray! Living is, well, it’s not just body care. It’s really a way of life.” Nicole leans back and closes her eyes as usual, emphasizing her one-ness with the sunlight. “Suzy Ray! can heal your hair or skin, your gut, your muscles, your spine. Their specialized formulas that no other doctor’s been able to match bring vital nutrients to your marrow. They even,” Nicole opens her eyes slowly and looks upon the water pump and those sitting by it, “can bring function back to muscles that haven’t worked before.”

There are many YouTube creators warning people of these multi-level marketing (MLM) scams, and plenty of news outlets continue to show just how many people who cannot afford to lose money are giving hundreds and even thousands to these companies in the hopes of “financial freedom.” The creator Munecat’s deep dive into the company Arbonne is an excellent one, I think, as it shows how this company not only scams people, but grips them tight with cult tactics. Click here if you’d like to see it. I’m still working out how I can talk to my own family members and friends involved with the companies like Norwex and Optavia. They’re spending hundreds to have the right nutrition powders and latest cleaning cloths on the off-chance someone on their Facebook pages will buy them. There are women in my church who swear by Shaklee vitamins to the point they won’t take their own kids to the doctor because “those are just pills. These vitamins are made from plants, from God’s earth.” Heck, I have a friend who keeps changing MLMs, always changing her “business” to whatever sounds good at the time and insisting that “this time” it will work. Right now? Board games. Yes, there’s an MLM for frickin’ board games.

I suppose “The Hungry Mother” is born out of that frustrated confusion, that desire to show my loved ones they are not in any sort of family with those companies. To an MLM, they are nothing but dollar signs.

Nicole looks past the water pump. Beyond the road and wall of tall shrubs is a trailer park full of people, poor and desperate people praying for easy answers. And Nicole’s bag is just full of easy answers, priced to catch and never release. All it takes is one yes to snag the rest, and that yes is due any minute.

When I queried journals about “The Hungry Mother,” I emphasized the current double-pandemic of our country: the grip of COVID, and the grip of MLMs taking advantage of frightened, unemployed people. I’d like to think this is why a Wisconsin e-zine accepted “The Hungry Mother” for its Spring 2021 issue available March 1st.

I hope you’ll check the story out, and please, PLEASE do what you can to encourage loved ones to leave these MLMs. Such “business opportunities” promise nothing but loss: loss of money, loss of friends, loss of family, and loss of one’s own integrity.

~*~

Admittedly, I get weary of the small town life at times. The kids, too. It’s just the same library, the same playground, the same streets day after day. I’m very blessed the three little Bs enjoy taking off into their own imaginations, using whatever space ship, robot, or dragon will carry them into any Elsewhere they can think up.

Thank goodness they enjoy drawing! I wish I could say the same. When Aionios Books asked me to make a map for my first book Fallen Princeborn: Stolen, I cringed the whoooole time. It makes sense in MY head, I wanted to say. Who needs a map?

But after studying Tolkien’s The Art of The Lord of the Rings at our small town library, I better understand why such maps can be so important.

The book is a lovely collection of Tolkien’s brainstorming in art form. From sketches on scraps to detailed drawings with color and scale, the book reflects on just how immersed Tolkien was in Middle Earth. As the magazine Wired‘s review of the book explains:

HOW DID J.R.R. Tolkien create The Lord of the Rings? The simple answer is that he wrote it….The more complicated answer is that in addition to writing the story, he drew it. The many maps and sketches he made while drafting The Lord of the Rings informed his storytelling, allowing him to test narrative ideas and illustrate scenes he needed to capture in words. For Tolkien, the art of writing and the art of drawing were inextricably intertwined.

This is such a vital point, one that I need to remember as I dive into series writing with multiple lands and locations. Though these places only reveal themselves to me as I write them, I must still map their locations and details so they are not simply forgotten like the small towns of the real world. Readers need the guide, and frankly, so do writers. We can’t afford to switch locations around or forget where the mountains are. Even if the mystery of borders is a part of the story, the writer needs to know them. And if you’re a writer like me who doesn’t really know them until the story’s done, then you better map them as you go so that when the time comes to revise, you can walk the same road without losing a step.

I suppose the biggest obstacle I face with drawing is, well, my pride. I am NOT an artist. I am fine with that. But to be required to look at my own drawings, even for reference, just makes me squirm as one may squirm with having to dissect a dead frog. Blech. And Tolkien makes it look so bloody easy!

But The Art of the Lord of the Rings is an important reminder that Tolkien wasn’t aiming for perfection every time. Just look at that drawing of Helm’s Deep. He did that on a student’s examination paper! He didn’t care. It came to mind, and he drew it. How much detail and how “good” it was didn’t matter. He just had to get it down so he wouldn’t forget it when he did have the chance to write.

The world [Tolkien] built extended into his art. His art breathed life into the corners of that world he would never find the time to write about. At the same time, those drawings, maps, and doodles also helped readers immerse themselves in his never-before-seen invented realm, “a world,” Tolkien’s friend C.S. Lewis once noted, “that seems to have been going on before we stumbled into it.”

From Wired

THAT is the lesson to be learned here. What one draws and how one draws it shouldn’t prevent a writer from exploring a story-world, especially when one is building anew. Besides, technology allows writers new options if they don’t wish to draw their own. My fellow indie fantasy authors Wesley Allen and Michael Dellert both have extensive maps for their stories, but they didn’t publish their own sketches. Wes loves using special map-making software, and I confess–it looks pretty sweet! Michael commissioned a designer online to craft a polished map, and it’s a perfect reference to include with any of his stories.

So, it’s time I “Suck it up, Buttercup” and get mapping. After all, Charlotte’s not the only one who must explore the unknown. Two brothers must win a race through worlds to beat the crying sky, and Meredydd and her comrades must find where the Cat Man hides before he poisons the gods of their land.

Time for these teens to leave their small towns behind and discover what they are truly capable of.

~STAY TUNED!~

More interviews on the way, of course! I’ve also got to do a school presentation on names, and considering the importance of naming characters, I thought I’d share some points of discussion with you, too, you lucky devils. 🙂 I’ve also been reveling in some fantastic adventure music which is bound to get your own characters racing to victory, so don’t stray far! We’re too close to Hell to back down now…

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

#AuthorInterview: #indie #fantasy #writer @miladyronel discusses #writing #upsanddowns, #redflags in #publishing, and other journeys spurred by #books.

Put that Wisconsin snow globe down already!

Hello hello, fellow creatives! I hope you are well and safe where you are. As a friend of mine said on Facebook, Wisconsin seems to be stuck in a snow globe that some cosmic child keeps shaking.

Winter may be magical, but I think we’re all up for a different kind of magic, wouldn’t you say? Let’s add some fantastic wonder to our writing and reading lives with the help of the ever-magical dark fantasy author Ronel Janse van Vuuren.

Thank you for taking time to share your thoughts, Ronel, as well as your stories. I see you’ve got a stunning free ebook available for those who sign up for your newsletter. You describe Unseen as a trio of stories that dive into folklore about the mistress of the veil. I love how deep you dig into folklore and mythology to craft unique stories for modern readers. What kinds of research do you do, and how long do you spend researching before beginning a book?

Thank you. I get an idea for a story. Then I flip through one of my folklore books (whichever one catches my eye that day) and I’ll read through the entries until something clicks. Then I’ll go and research whatever I found on sacredtexts.com where all the books about folklore and mythology that have lapsed copyright live online. To keep everything organised and backed up, I’ll create a blog post about it (even if it’s something that has to be scheduled for two years from now) and look at how the thing was used recently in books, movies or games. It takes about two days to do all the research for a blog post and to write it. So, for example, for “Once and Future Queen” there’s the background of the Rift, Faerie, Seelie and Unseelie Courts, Solitary Fae and magic (all which already have their place in previous books and are all fully researched with blog posts written). But the Season Courts and the Elementals were only vague ideas when I planned this book. So four days for the folklore.

But I also used acid attacks, pottery, police procedure, and gardening in the book. I didn’t have to do much research on gardening – only the meaning of flowers – or any research on police procedure (know enough from personal experience). Which left acid attacks and pottery. Both subjects can pull you down the Pinterest rabbit hole. For the acid attacks, though, I just stick to following @stopacidattacks on Instagram because there are so many resources – and heart-breaking photos.

So for “Once and Future Queen”, I took a week to research everything I needed to know before writing. Plotting is a whole other beast!

Noooo kidding. I was just working on a synopsis for a new trilogy, and worldbuilding the hazy bits is EXHAUSTING. Do you consider plotting to be the toughest part of your artistic process, or would it be something else?

To stop dreaming and to start doing. I create all these stories in my head, talking to characters for hours – and then I remember that I can’t plug a USB cable into my head and download the story to my computer, I actually have to type it. And my head works a lot faster than my fingers (despite typing at a crazy speed that means replacing my keyboard three times a year).

Heavens, that’s a lot of keyboards! I wish I could type that fast, but I get distracted by kids learning from home…or a phone call from the principal when they’re at school. (Sigh) That just does my creativity in. What is your writing Kryptonite?

Shiny new ideas. And stationary! Weird, but these can keep me distracted from what I’m actually working on. I shouldn’t be left alone anywhere that notebooks, pens or anything else deemed “stationary” can be found. I even have a Pinterest board about stationary… https://za.pinterest.com/miladyronel/got-to-love-stationary/

Ha! This is why I can’t hang out in used bookstores or at library sales. I’m always distracted by the possibilities! You mention another big struggle with focus, though, regarding your ADHD, especially after you published your first book. How did publication change your process of writing?

Yes! First, I had to rein in my ADHD. It meant that I had to change the set-up of my writing cave (desk faced away from windows, drapes drawn during the day, internet access hidden until nightfall, phone set to aeroplane mode, etc.) to optimise focus. Then I had to work out an editorial and a writing calendar. It took some time, but I finally have one that is flexible enough to be changed if I have sick days (I hate getting flu because someone two streets away sneezed) or if I get the chance to join an online writing summit (the Women in Publishing Summit the first week of March every year is well-worth attending). I’m usually six months ahead with my work. Before I made this shift, I would jump from project-to-project never finishing anything – I still have folders full of half-finished ideas that I’m turning into amazing stories.

I have quite the list of half-finished ideas, too. Heck, some of them are even on this site, if one wishes to check out What Happened when Grandmother Failed to Die. 🙂 Would you say writing energizes you, or does it exhaust you?

Planning, plotting and researching are energising phases, mainly because it’s all new and shiny – and I can do it in any order which suits my ADHD quite nicely. Writing, on the other hand, is exhausting. Not only does it require me to slip into the mind and skin of the character, feeling what the character is feeling, experiencing what the character is experiencing, and going through time at hyperspeed, it also takes a lot out of me mentally, emotionally and physically to be in that mental space for hours at a time (and it’s painful on my carpal tunnel, leaving me with swollen hands at the end of the writing day). For example: after writing one complete story line in one sitting in “Once and Future Queen”, I was in tears à la Joan Wilder in the opening scene of “Romancing the Stone”. Yeah. Hopefully readers will have the same reaction.

I think we all hope our books pull at something deep within our readers, just as other books have done to us. What’s your favorite under-appreciated novel and why?

“Ushig” by Annemarie Allan is my favourite novel that seems to be invisible on Goodreads. I bought it a decade ago on an online store (as a paperback – I love paperbacks!) and it was so dark and thrilling I just had to read it again to figure out whether I liked or hated it. It introduced me to the Celtic water horse, the ushig, and made me want to learn more about the different types of water horses across cultures.

Have you ever gotten reader’s block?

Unfortunately, yes. For a long time, almost a year, I struggled to read. I pretended that it was because of bad grammar or something silly story-wise that pulled me from the book, but it was as if I just couldn’t read. Then I found this amazing series about faeries by another South African author and it was like coming up for air. Maybe the books are better in my head than they actually are, but after reading three (there are nine primary works and three companion books) I felt like I loved reading again. So I space reading the books out in case reading becomes dull again (it took me two years doing it like that to read the entire series).

Click here to read my reviews about the “Creepy Hollow” series.

Thank you for the recommendation! Such books really motivate us to find the settings that inspire their authors. What literary pilgrimages have you gone on?

I’ve done virtual pilgrimages to New Orleans (vampires, am I right?), several locations in France (the Bastille, anyone?), and Bath (Jane Austen knew her stuff). My first literary pilgrimage happened by chance when I was a tween: I read this amazing book I had borrowed from the school library (can’t remember the title, though it had something about running in it) and it mentioned a local stadium. A few weeks later, my primary school had a sporting event there and I could see the characters from the book competing in their final sprint. It was absolutely amazing. One day I’d like to do those virtual tours in person so I can experience the physical and imaginary spaces meet as I did that day when I was twelve.

YES–I’d love to visit the lands that inspire my favorite stories. Folks, if there is a place you would love to visit on a literary pilgrimage, please share it in the comments below!
Now, back to writing. You write a good deal of fantasy, both in series form and as standalone stories. Series writing is often the “hot” thing to do from a marketing perspective, but let’s face it–a lot of stories can be told in one book! Can you describe your process for choosing whether a story requires one book or more? 

With my current on-going series, the decision was made to do several short books as it isn’t conforming to any publishing norms: the first book (for free on most online retailers) has a couple of flash fiction pieces (defined as a story shorter than a thousand words) followed by the folklore from original (very old!) sources. It serves as an introduction to the series. The second book, exclusive to newsletter subscribers, contains three connected short stories followed by a bit of folklore. Books three and four are flash fiction collections, books five, six and seven are short story collections, books eight, nine and ten are novellas, and the last five will be even longer as they connect storylines from all the books before them.

Readers will either love or hate this way of telling the story. But with so many storylines and characters that tell the bigger story, it was the best way for me to tell it and for readers to consume it (in bite-size pieces). I’ll probably release a box-set when all the books are done (hopefully by the end of this year!).

But for other stories, I stick with one escalating problem per book. In “Magic at Midnight”, Amy saving her pegasi no matter the cost was the core problem, everything else just sort of happened and anything that would have dragged the story beyond one book was cut. There might be more books set in that universe at a future date, but then the series will be connected through a shared universe, not because Amy’s story was dragged out.

Personally, I like to look at TV series to see when they’re dragging a thing out too long. For example: “The Vampire Diaries” ends perfectly at the end of season four when Damon and Elena end up together. The point of the series was to get her to choose her true love between the Salvatore boys, and when she chose the Salvatore I liked, it should have ended. Torturing Damon in season five, Elena being removed from the series in season six, mama Salvatore coming to town in season seven, and the Sirens in season eight were all filler until Damon and Elena end up together anyway. The point? Know what your story is about and cut anything that doesn’t belong.

Excellent advice! There are many traps for writers aspiring and established alike, and we all fall into them at some point. What are the worst you’ve seen?

Most traps are set in “everyone knows” or strongly believing something because it is “what everyone says.” As you move deeper into the writing world and especially the dark side, as Mark Dawson calls indie publishing (he’s a big-name indie author, FYI), you learn that you have to forge your own path and do things your own way. But here are the biggies that is especially prevalent among South African aspiring writers and I believe everywhere else:

  • Believing everything Stephen King says in “On Writing” to be gospel. (It’s a good book, but there are other great books about writing, too. See my Goodreads shelf for inspiration.
  • Believing that being published through a big publishing house is the only right way to be published.
  • Believing that having an online presence as an author shouldn’t be done until a publisher tells you to do so.
  • Being so desperate to have that publishing deal, that they’ll sign their rights away without thinking twice.

These are definitely major assumptions we’ve got to work on changing. Considering your experience in writing and publishing, what would you say is the most unethical practice in the publishing industry?

There are several. Some I even fell for as a newbie author. To be absolutely safe, I suggest checking out “Writer Beware” run by Victoria Strauss.

Two I would warn about, though, as they aren’t talked about enough.

  • Reviewers asking for money. It happens. It’s even acceptable in some places. Even on BookSirens (the best place to find reviewers in one spot) has good reviewers asking for a fee. But here’s the thing: Amazon doesn’t like paid reviews. And if a reviewer contacts you because “they love the blurb and the cover is so gorgeous” you shouldn’t feel flattered: just delete the email. This was a costly lesson. Not only didn’t the reviewer deliver on her end (despite shining testimonials and seeing all the proof that it is money well spent), she got my surname wrong. Building your own review team organically is the best way to get honest, proper reviews for your books.
  • Sponsors of competitions offering more services for your book. Look, at first I didn’t think twice about it. I knew nothing about indie publishing and thought the amount the “self-publishing with support” company was asking to convert my book into an ebook was reasonable (the prize of printed books I’d won was worth more than twice that). The promises of promotion and all the other things that sound good (getting your book into a brick-and-mortar store) didn’t happen. And despite telling them what the price for the ebook should be, I found it for five times the price on the (only) store they’d published it to. With Amazon, you can easily convert your own ebooks (with Kindle Create) and your paperbacks (either with Kindle Create or with their templates) for free, you can hire freelancers on Upwork to do it for you, and you can format your ebooks easily on Draft2Digital for free. It doesn’t have to cost as much as the printing of a couple dozen books – for an epub “that you can load to Amazon” (tip: Amazon prefers mobi or Kindle Create (kpf) files).

Thanks you SO much for taking time to chat with me, Ronel! Let’s wrap up with a little marketing advice that helps fellow indie authors avoid those unethical practices and helps them connect their stories to readers. What have you found to work with marketing your own books? 

Being authentic. Readers want to connect with the person behind the words. It’s not always easy. I mean, going through the process of your furbaby dying is excruciating enough without sharing it on Instagram, but sharing those real moments in your life help readers to feel like they really know you. The same with sharing a new haircut. Some things are off-limits, like the parts of my life connected to others who don’t want to be on the internet, but I share enough without over-sharing. It works a lot better than doing cover reveals, blog tours and all the other “must-do” marketing things put together. (Though I still love doing cover reveals and blog tours.)

Thank you for having me.

Anytime, Ronel! Folks, I hope you can check out Ronel’s site and all her amazing books.

~STAY TUNED!~

A random library selection has taken me down some new roads of worldbuilding. I hope you’ll join me as I ride the rails and roads through some fantasies of other-wheres…

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

#LessonsLearned from #JohnLeCarre: Always #Write a #Setting of Quality.

Welcome to February, my friends! Sunlight is rare in Wisconsin these frigid days. The snow has frozen, and mothers–well, this mother, anyway–cruelly refuse to let children hurl ice at one another for fun. This has led to lots of running about the house, blasting imaginary baddies while flying off on dragons, Transformers, and Federation star ships. So long as their epic battles do not end with more stitches, we’ll be fine.

Tales of action and adventure have been long been a part of my life, and Bo’s, too. James Bond is a mutual favorite–the suave rogue against impossible villains, constantly in daring chases across the world, winning all the women and destroying all the doomsday devices. That’s what spy films are all about, right?

And then I discovered John le Carré through a whimsical selection of the library: Tinker, Tailor, Soldier, Spy starring the late great Sir Alec Guinness. Bo, ever the student of all things related to cinema, told me Le Carré wrote the George Smiley novels as a literary retort to Fleming’s Bond.

Image from Bond on the Box. Click the link for more information on a fascinating debate between Anthony Horowitz and David Farr about the spy-worlds crafted by Fleming and Le Carré.

The two authors did actively serve their country in the Intelligence realm, so considering how each approached the world of spies, I’ll leave the idea of a rivalry up to you. Personally, when a character describes protagonist Smiley with “Looks like a frog, dresses like a bookie, and has a brain I’d give my eyes for,” I can see how one could perceive Smiley to be the antithesis to the debonair 007.

In celebration of the incomparable John Le Carré, let us visit the postwar England of his protagonist, George Smiley. Let us see how one author transforms the landscape for a story dark and full of danger…oh, but this is not a tale of international espionage. Oh no. This is but a humble tale of a village murder.

Yet even a village murder can be filled with secrets and lies. Even a village murder can be a story of quality.

In the spirit of SJ Higbee’s Friday cover comparisons, let’s see a few covers. while I love the ornateness of the Q, isn’t it a shame the back color is a drab white? The gold is practically lost to it.

We begin.

Chapter 1: Black Candles

The greatness of Carne School has been ascribed by common consent to Edward VI, whose educational zeal is ascribed by history to the Duke of Somerset. But Carne prefers the respectability of the monarch to the questionable politics of his adviser, drawing strength from the conviction that Great Schools, like Tudor Kings, were ordained in Heaven.

“Ordained in Heaven.” Already, Le Carré establishes Carne School’s feelings of superiority over the rest of the masses. Not only is this school connected to the throne and the aristocracy, but to God himself. Surely no common man would think himself better than such a place.

And indeed its greatness is little short of miraculous. Founded by obscure monks, endowed by a sickly boy king, and dragged from oblivion by a Victorian bully, Carne had straightened its collar, scrubbed its rustic hands and face and presented itself shining to the courts of the twentieth century. And in the twinkling of an eye, the Dorset bumpkin was London’s darling: Dick Whittington had arrived. Carne had parchments in Latin, seals in wax and Lammas Land behind the Abbey. Carne had property, cloisters and woodworm, a whipping block and a line in the Doomsday Book–then what more did it need to instruct the sons of the rich?

“Rustic hands.” “Bumpkin.” A school of the country, nestled in the dirty rural life, yearns to be a part of the “courts” and be “London’s darling.” Classism flows through the novel with a powerful current, the kind that grabs you by the foot and pulls you under if you’re not careful. We must tread on, carefully, for the students are arriving.

This cover tells me I am in a school, but that’s it. The font for title and author are equally vague. Blech.

And they came; each Half they came (for terms are not elegant things), so that throughout a whole afternoon the trains would unload sad groups of black-coated boys on to the station platform. They came in great cars that shone with mournful purity.

They came to bury poor King Edward, trundling handcarts over the cobbled streets or carrying tuck boxes like little coffins. Some wore gowns, and when they walked they looked like crows, or black angels come for the burying. Some followed singly like undertakers’ mutes, and you could hear the clip of their boots as they went. They were always in mourning at Carne: the small boys because they must stay and the big boys because they must leave, the masters because mourning was respectable and the wives because respectability was underpaid…

Oh, this imagery! All the vibrant energies equated with youth have been cloaked with black and contained with piety.

But more on that in a moment, I just want to pause here on the importance of connecting what is “normal” in one setting is not always normal elsewhere. Sending children away to boarding school is not a common thing in the United States; I did so in high school (that is, for ages 14-18), and even for my religious boarding school, life was nothing like Carne. At first read, I couldn’t help but think of Ripping Yarns by Michael Palin and his episode all about poor Tomkinson’s transformation from a lowly first year to…well. You can watch the episode. It’s brilliant. 🙂

For those who did not send or attend a boarding school for children, this idea of youth forced to attend a starkly religious place for education completely justifies this procession of “black angels” and “little coffins.” But Le Carré also says the boys look like “crows,” and this hints at something a bit more malicious, a bit more sinister. After all, crows are the mediators between life and death, and feasters upon the rotting flesh of others.

Crosshairs! Well now, that is exciting. 🙂 But why the pea green?

We’re not two pages in, yet we are already keenly aware Death is afoot in this place.

…and now, as the Lent Half (as the Easter term was called) drew to its end, the cloud of gloom was as firmly settled as ever over the grey towers of Carne.

Gloom and the cold. The cold was crisp and sharp as flint. It cut the faces of the boys as they moved slowly from the deserted playing fields after the school match. It pierced their black topcoats and turned their stiff, pointed collars into icy rings round their necks.

“Gloom and the cold.” I love that this is a sentence fragment after such lines about gloom over “grey towers”–for an institution that considers itself divine, Carne certainly has no physical sense of light or hope. But gloom can be a different thing on warmer days, when sunlight is not so rare. In the wintry days of Lent (Carne can’t even refer to this time as the Easter Term, Easter being a holiday of light, resurrection, glory, HOPE!), when the Divine is at its lowest point in preparation for crucifixion, the cold has a physical power to “cut” the innocents of this school.

Carne isn’t the only gloomy place

in England on this day. London, too, struggles beneath foreboding.

Who the bloody hell designed this?! There are no mysterious men in sunglasses, no sexy dames with their thighs hanging out. Just because a spy is in the novel doesn’t make it a spy novel! You are a very stupid boy, Tomkinson!

Abruptly [Brimley] stood up, the letter still in her hand, and walked to the uncurtained window…She looked down into the street, a slight, sensible figure leaning forward a little and framed by the incandescent fog outside; fog made yellow from the stolen light of London’s streets. She could just distinguish the street lamps far below, pale and sullen. She suddenly felt the need for fresh air, and on an impulse quite alien to her usual calm, she opened the window wide. The quick cold and the angry surge of noise burst in on her, and the insidious fog followed. The sound of traffic was constant, so that for a moment she thought it was the turning of some great machine. Then above its steady growl she heard the newsboys. Their cries were like the cries of gulls against a gathering storm. She could see them now, sentinels among the hastening shadows.

This theme of proper mourning flows downwards from the school to the nearby village. For instance, Le Carré has readers picture the village’s hotel as “sitting like a prim Victorian lady, its slate roof in the mauve of half mourning” (24). When a policeman meets with George Smiley about the murdered wife of a teacher, he wastes no time in establishing the set-apartness of Carne School:

“Funny place, Carne. There’s a big gap between the Town and Gown, as we say; neither side knows or likes the other. It’s fear that does it, fear and ignorance. It makes it hard in a case like this….They’ve got their own community, see, and no one outside it can get in. No gossip in the pubs, no contacts, nothing…just cups of tea and bits of seed cake….”

“Town and Gown.” What a phrase. Now this definitely recalls something of my own boarding school experience. We were all of us outsiders to this small Midwestern community. We weren’t of their earth, we teens of unknown backgrounds. And with all the rules dictating where we could go and when, we rarely connected with any peers of town. Where no one knows the other, ignorance will take root, and in Carne, those roots run as deep as the currents of classism. All are beneath the sanctity of the School, worthy only of “bits” of seed cake and tea. Not even seed cake–bits of seed cake. It hearkens to the Biblical image of dogs begging for scraps from the Master’s table, and that such scraps of Gospel Truth are the key to salvation.

Now this one I rather like. The red threatens, the long shadow looms. The boy on a bicycle looks to the side as if worried (as he should be). The text size and color aren’t ideal, but they do stand out without detracting from the boy.

Yet clearly Carne School does not feel the rest of the town is worth such truth, as one teacher proves in a conversation with Smiley:

“The press, you know, are a constant worry here. In the past it could never have happened. Formerly our great families and institutions were not subjected to this intrusion. No, indeed not. But today all that is changed. Many of us are compelled to subscribe to the cheaper newspapers for this very reason.”

It is quite a surprise to Carne School’s faculty, then, when the new teacher’s wife refuses to follow the rules and restrictions that keep Town and Gown apart. After this same wife is found brutally murdered in her home late one snowy night, both Town and Gown are suspect because, as another teacher’s wife put it, “‘Stella didn’t want to be a lady of quality. She was quite happy to be herself. That’s what really worried Shane. Shane likes people to compete so that she can make fools of them.’ ‘So does Carne,’ said Simon, quietly.”

Let us close this analysis with Smiley’s glimpse of the murder scene.

[Smiley] glanced towards the garden. The coppice which bordered the lane encroached almost as far as the corner of the house, and extended to the far end of the lawn, screening the house from the playing fields. The murderer had reached the house by a path which led across the lawn and through the trees to the lane at the furthest end of the garden. Looking carefully at the snow on the lawn, he was able to discern the course of the path. The white glazed door to the left of the house must lead to the conservatory…And suddenly he knew he was afraid–afraid of the house, afraid of the sprawling dark garden. The knowledge came to him like an awareness of pain. The ivy walls seemed to reach forward and hold him, like an old woman cosseting an unwilling child. The house was large, yet dingy, holding to itself unearthly shapes, black and oily in the sudden contrasts of moonlight. Fascinated despite his fear, he moved towards it. The shadows broke and reformed, darting swiftly and becoming still, hiding in the abundant ivy, or merging with the black windows.

We return to darkness, slick and liquid, seeping into all the cracks seen and unseen. We return to the imagery of a woman from a bygone era and the doomed youth. In this place ordained by heaven to protect and enlighten, the pure innocence has been stained black and red. Beware the Town. Beware the Gown. Beware the Devil flying with silver wings.

Such are the details that catch the reader’s breath in their throat. Hold it there, writers. Take a lesson from the Master of Subtlety and Method, whose Slow Burns creep so delicately the reader never notices the licking flames until it’s too late. Use the details of the setting to bind actor, atmosphere, and action together, leaving no chance for escape until the final page is read and the reader can breathe at last.

~STAY TUNED!~

Along with more lovely indie author interviews, I’m keen to share my process in worldbuilding for my own fantasy fiction. We’ll have a go at a little mapping, a little digging, a little thrill-seeking. 😉

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