Showing posts with label mother's day. Show all posts
Showing posts with label mother's day. Show all posts

13 May 2018

Mothers . . . the good, the bad, and the ugly

Fictioneers tend to borrow from whole cloth the characters that inhabit their tales. At least, they are constructed from bits and pieces of real people who pass through our lives or perhaps stay for marked periods of significance. None more so than our mothers. 

I’ve taken a look at how I've depicted mothers in my own novels. While I usually strive to avoid stereotypes, the mothers have tended to be drawn as one of three types – all for the sake of the story, of course! For this momentous day, I’ve pulled out a few excerpts to illustrate these types. And no matter how you may feel about the mothers you find in any story you read, wish them all a Happy Mother’s Day.


In the real world, mothers can be cruel or nurturing...

Her eyes wander up to the windows high on the walls. They are painted over white—off-white: eggshell; cream, perhaps. She pretends drifts of snow cover them. A good blanket of snow can hide so much, she thinks. , like clothing. On the platform nothing is hidden. She holds her breath, counting heartbeats. Secrets, like scars, can be covered yet never erased. And every spring, when the snow melts, the scars remain—like wheel ruts cut into the soil, ruts that dry and harden during summer only to be covered again with the next season’s snow.
The Wheel Ruts of Summer—perhaps another painting she will do: two sienna lines cutting through the winter-gray grasses, a black storm on the horizon. She would stare down the storm—she with her pale, thin arms and legs, her body slender and white, without blemish. , like the pure snow covering the dirty road. There are no scars that are visible—
There was a day in school, back in Iceland where she was born, long before she and her widowed mother moved to Canada. Perhaps she was ten. She drew a picture of a mountain with snow on one slope, a forest on the other, and a fjord across the bottom. Her teacher praised it. At home, she proudly held up the picture for her mother. With only a glance, her mother dismissed it, suggesting she draw Jesus suffering on the Cross if she wanted to waste her time with colored pencils. And she never drew again—not until Toronto, when she would sit in the dressing room, waiting to go on stage and do her dance.

vs

Whenever Eric paused to think, he could hear his mother bustling about the condo, preparing New Year’s dinner. The intoxicating scents of roast ham and candied yams was too distracting as he pounded the keys of his mother’s computer. He had to write while his blood was hot, while the muse favored him, deep into his Thorngren and Svana story.
The keys clicked like hard rain and he dared not stop to take a breath. Eric was the wizard, and Svana was the orange-haired woman named Íris. The rest was pure fiction. His stomach rumbled like the ominous thunder over that fjord, yet on he typed. The girl, Svana, cried out from the hilltop tree where she had been bound. The strongest men of the village lashed the wizard to the mast of their longboat at the command of Brendan, the Christian priest. Brendan cried his directives over the roar of a storm—
Eric stopped, fingers hovering over the keys, electricity sizzling through them. He realized there had been knocking on the door.
“He’s been in there typing for a good part of the day and night,” he heard his mother say. “He was up past three last night.”
“Let the boy be,” his father exhorted, resignation in his voice. “He’ll be out when he’s finished writing his damn stories.”
Meanwhile, the longboat set sail, was reaching the arctic wastes—the ice sheet, the glaring whiteness—the icy wind—the warriors numb with cold, sick with fear....
Eric sat back, pondering his story. When he finally cracked the door, the condo was dark and silent. His parents had gone to bed, the New Year’s dinner had been put away, and even the fireworks had subsided. In the refrigerator, he found a ham sandwich with a note from his mother taped to the cellophane: Happy New Year! He stared at the note as he ate the sandwich.



Even fantasy mothers have their quirks and ambitions...


The queen smiled, chubby cheeks flushing as they did whenever she was delighted.
“Let’s call her...Lumina. She is so bright. She lights up my life. How is that?”
“Lu-mi-na. Yes! I like it!” exclaimed the girl.
“So it is done. The naming. A lovely name for a queen. Almost as great as Adora. Now let the realm know my second daughter is to be called Lumina—Princess Lumina.”
The chief maid exited the slumber chamber to pass the news to the court crier who would make the official announcement.
“What will happen to the other babe?” asked Adora.
The nursing maids chuckled. Such a beautiful, naïve child, they seemed to suggest. Once she returns to her tutors, she will learn more of the customs of Sannan.
“It’s none of your concern. Go and make play for yourself.”
Adora turned to the basket on the floor beside the great slumber seat. In the basket the babe gurgled, threatening to cry, its tiny feet wriggling above the basket’s rim. She wanted to step closer and get a better look, to see if this one was as cute as the babe resting on her mother’s chest sucking the nipple.
“Sometimes the goddesses may bless us with extra measure,” the queen spoke in a soothing voice. “As always, we must dispense with males, all the sons and brothers, fathers and uncles, lest they return our great realm to ancient depravity and ring loud the bellicose bell. You must remember the history of wombkind.”
“I do,” said Adora. “I listen to my tutors always.”
“As you should.” The queen spoke to her maids a moment. When she turned to Adora, she said: “I pay much to hire only the best tutors for you, so you should trust what they tell you.” 
Adora stared at the babe in the basket. The queen saw her abject attention and waved at one of the nursing maids.
“Remove the waste,” commanded the queen.

vs

When the pink smoke settled, Corlan dared open his eyes. In front was a large capsule, a bottle as tall as a man and twice as wide. All sides of the bottle were clear. Inside it was a pink liquid that was just thin enough to reveal the figure of a woman floating within. The woman was naked but her long, gray-streaked black hair covered most of her body. As she floated in the liquid, her eyes were closed.
At the final word from Hiro Ka, the eyes of the woman in the bottle popped opened. She immediately appeared angry.
“You!” came a voice.
“We meet again, Mother,” spoke Hiro Ka in a loud, steady tone.
“How long has it been?” the woman inside the bottle responded. The voice echoed around the room. Corlan ducked to avoid it, then stood up, feeling silly.
“Almost a year, I suppose. I have not been counting the days.”
“Have you birthed a child yet?”
“Oh, Mother, always the same demand!”
“You must birth children to continue our line.”
“I know, I know. It’s not that easy in a city with only wyma, you should know.”
“I see a man beside you. Is he real? Or illusion?”
Hiro Ka gave a laugh. “Oh, this one is real, I assure you. He is so wonderfully real. In fact, we come to you on this the third day of the protocol. I promised him I’d introduce you if he delighted me on the second day. And he most certainly did! My Mother, I can hardly walk!”
“You came all the way across the city and woke me from my sleep to tell me you finally got a man into your bed?”
“Well, yes, Mother. I thought that’s what you wanted.”
“It is.”
“I told this man you would tell him his future. Can you do that?”
“What do I gain from this act?”
She pursed her lips. “My undying love?”
“I had that already. For fifteen years. Then you went crazy.”
“I’m sorry, Mother. You know it wasn’t my fault.”

vs

Corlan stepped forward, arms lowered to catch the queen, to help her. He glanced sideways at Tam, standing near the serving girls. The boy shook his head from side to side and Corlan stopped.
“I only know how to protect my wyma from harm,” moaned the queen. “They worship me as their Great Mother.” She lifted her head, tried to look at Naka Wu but the stretch of muscle and sinew was too painful.
“My mother felt your cruelty.” Naka Wu spit. “You fed her to drakes at the Eve of Eve celebration, as entertainment for your courtly sisters. Yet not before she endured the whipping. The lashes your jester snapped at her, flaming strands of coarse wire, were unspeakable cruelty!”
The queen wavered on her knees, struggling to breathe with the lance through her belly. “Your m-mother? I didn’t know...who she was—”
“Because I was taken from her years before your soldiers brought her to the prison for a mere accident. Her last cow kicked one of your soldiers and broke her leg. They took my mother to the prison for that. When she was old, sick, trying to escape—she became your holiday entertainment!”
“The punishment was...fair,” moaned the queen.
“I know more wyma who tell the same stories.” Naka Wu turned to the two guards behind her, then gestured at the guard standing by the serving girls. “Uki Ma lost her mother to your warriors. I will not describe how they tortured her. Giko Song lost all three of her sisters to the cruelty of your soldiers. And Yuka Hei was tortured for seventeen days just because she dared look at a man—some useless man!—that you had brought to your chamber for the protocol. You see now she survived and has returned to meet you, and send you into the Beyond. And me: sold by my mother because she could not pay your taxes. Now we take back this city!”


Mothers...they mean well. They have your best interests at heart. But sometimes...well, they just don’t get it...


“Well, you should write her back, Alex,” his mother went on. “Ask her what this is all about. You have a right to know. Tell her you demand to know why she—”
“I already wrote to her,” he murmured.
“You did? When?”
“More than a month ago.”
“And...? What did she say?”
He scooted up, perched on the edge, and dug into his back pocket. Retrieving a crumpled letter he had been carrying around for a couple of weeks, Alex held it up for her to see.
She pulled out her glasses from her apron pocket.
Returned: No Such Address,” she read solemnly.
“No such address,” he mumbled. “She made the whole thing up.”
“Well, we’ve got to find her, Alex.” His mother was adamant. “Your father’ll be home soon. Then we’ll figure out what to do. We’ll get a lawyer—”
“No, Mother. It’s over.”
“Over?” his mother almost shrieked. “How can you say that? This woman hurt you and she should at the very least apologize.”
She let the echo of her sharp words come back to her and heard them clearly. Alex gazed at her: the words did not sound like her words, but his. His mother seemed to realize that.
“Well, you know you should write a nice thank you note to that Doctor Johnson in Turkey. Also to that man on that island who helped you. You did get his address, didn’t you? And your Navy friend—Benson, is it? Poor fellow’s in jail while you’re home free with the stroke of a pen. You should write him. That would make him feel better. Maybe tell him how sorry you are...?”
She paused, awaiting his response, then glanced about the living room. She did not know what to do with her hands.
“I know they’d all like to hear from you, Alex. At least know you arrived home safely.” Her gaze landed on the writing desk in the corner of the living room. “I see you haven’t sent a reply to that Mister Carter’s get-well card, or have you? It’s been nearly two weeks, dear. I don’t see any letters to go out.” She sighed. “Alex, you don’t want to get a reputation. People notice the little things. Shall I get you some stationary?”
Alex got up slowly from the sofa without a word, reached for his cane, and hobbled out of the cool, dark living room.
“Young man, don’t you walk out on me,” his mother scolded, then stopped, apparently realizing, as her son did, just how hollow the words sounded now.





It is always good to remember that a mother is a boy's best friend. 

Happy Mother's Day!

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(C) Copyright 2010-2018 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

21 May 2017

The Junk Man Cometh

Have you heard that expression that one man's junk is another man's treasure? It pops up once in a while - especially when a flashdrive gets full and I need to remove files to make room for something new that is, by definition, more valuable than whatever I may select to delete. It's a conundrum of our modern technological age. Yes, I know that there is a cloud up there somewhere, but I don't live that way. I like my stuff to be in physical, tangible form, and under my constant control. 

But I digress.... 

Recently I was in that situation of reviewing old files to determine which I could part with. I had to open many of them to see if they were truly necessary. That led to an interesting bunch of hours perusing my backstory, revisiting the ancient history of who I was long ago. I pondered why this file was of interest to me back then. I had to tie it to that point of time in my life: where was I? what was I doing? who was I enamored by? what did I hope for my future? Not exactly a walk down memory lane. More like running a gauntlet of alternately embarrassing moments and painful days of yore.

So, rather than toss a few old files away willy-nilly, I decided to conspire with my past self to share the more maudlin ones with an unsuspecting public. You're welcome. And so, without further adieu, I present "Files from my old Folders":


1.

“Life isn’t divided into genres. It’s a horrifying, romantic, tragic, comical, science-fiction cowboy detective novel. You know, with a bit of pornography if you’re lucky.”
Alan Moore (via eroticasa)
The answer to life’s question right there

I must have saved this as a useful retort to those folks who see clearly defined genre boundaries. Although I may categorize a book as sci-fi, for example, that's just for marketing purposes. The story will include everything from romance to horror to comedy to hardcore techno-babble to dreamy alien wisdom. Because that's what I write.


2.

Call me crazy, but I just feel like liking everything today!

(That way, I will continue to be able to see them...thereby ruining the dreaded algorithm that decides what I like without me having to do anything like actually clicking the word 'like' to indicate my approval of the topic or my admiration for the poster or my sympathy in the case of sad posts or otherwise indicating that I have seen the particular post whether or not I took the time to read a link or pondered the headline or caption or smiled at a picture of a bunny or similar warm, fuzzy meme, or conversely turned away at a picture of tornado damage, sick children, or other similar images of the darker side of life's experiences, or otherwise left some meager sign of my existence in cyberspace, much less in the world of reality, which is, as Plato once demonstrated, nothing more than a snake oil salesman's compendium of incomprehensibility based on flawed human senses and a wild imagination....)

Have you ever logged on to your favorite social media abyss and just decided the heck with it and clicked the 'like' button on everything? Almost everything? And as you go down the wall/feed you begin to discriminate, to pick and choose what you will adorn with your approval? Truly an odd feature of these human things!


3.

Mother's Day is a two-way street with intersections, ice cream trucks, and horse-drawn carriages, half in shade and half in sunshine, and people pass once or many times and never think of it again.

I have no doubt this was a not-so-well-thought-out rebuttal to all the holiday trimmings abounding that day, and by extension every holiday. Too many such days when we are expected to perform rituals, recite the words, offer up the usual platitudes. True feelings are more likely to erupt spontaneously at certain moments throughout the year, less so on the actual day given over to the display of familiarity.


4.


Icelandic love phrases


I like you. Ég eins og Þú.
I love you. Ég elska þig.
I love you. Ég ást Þú.
I want you. Ég vilja Þú.
I need you. Ég Þörf Þú.
Do you love me? Gera Þú ást mig?
Do you want me? Gera Þú vilja mig?
Do you like me? Gera Þú eins og mig?
Kiss me. Koss mig.
Take your clothes off. Taka Þinn föt burt.
Have sex with me. Hafa kynlíf með mig.
I love cuddling with you. Ég ást faðmlag með Þú.
I love your touch. Ég ást Þinn snerta.
You smell good. Þú lykta góður.
You taste good. Þú finna bragð af góður.
You are beautiful. Þú ert fallegur.
You are handsome. Þú ert myndarlegur.
You turn me on. Þú snúa mig á.
You drive me crazy. Þú ökuferð mig brjálaður.
I’m falling in love with you. Ég er bylta í ást með Þú.
Will you marry me? Vilja Þú gifta mig?
I miss you. Ég ungfrú Þú.
You are so sexy. Þú ert svo kynÞokkafullur.

Because, well, sometimes you have to write a novel about a girl from Iceland and you want it to be realistic, right? So you do your research and you save all kinds of things just for that one page where you might type it in. Then it stays hidden in a folder within another folder on a flashdrive that needs to be cleaned. 

5.

Hungarian Goulash

2 pounds top round beef, cut into 1-inch pieces
1 cup chopped onion
3 cloves garlic, minced
2 tablespoons all-purpose flour
1 tablespoon paprika
1 teaspoon salt
0.5 teaspoon black pepper
0.25 teaspoon dried thyme
1 (28-ounce) can whole tomatoes, undrained, coarsely chopped
3 carrots, peeled and cut into 1-1/2-inch chunks
1 bay leaf
1 (8-ounce) container sour cream
Warm cooked buttered noodles

In a 5-quart slow cooker, combine beef, onion, and garlic; mix well.

In a small bowl, combine flour, paprika, salt, pepper, and thyme; mix well. Add to meat mixture, tossing to coat well. Add tomatoes with liquid, carrots, and bay leaf; mix well.

Cover and cook on HIGH setting 4-1/2 to 5 hours hours or on LOW setting 8 to 9 hours, or until beef is fork-tender. Remove and discard bay leaf. Stir in sour cream. Serve over noodles.

I know why I saved this recipe. I was writing my vampire novel; that is, a novel about a guy transforming into a vampire. At least, that's what he fears. Being of Hungarian ancestry, he eventually ventures to his ancestral homeland to seek a cure. I supposed I wanted to try the native dish to glean whatever I could of the culture, to better help me write the story. Then again, once I had made it, I realized it was very much like the stuff the cafeteria served us for lunch when I was in 3rd grade.



So there you have a handful of stuff I saved for whatever reason. Now that they are yours, please pass them on. Help the next person fill their flashdrive. 




---------------------------------------------------------------------
(C) Copyright 2010-2017 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

10 May 2014

The Mother of All Writing Processes

Supposedly I'm on some kind of blog hop, but I'm sure I'll get it wrong.

First, I'm supposed to acknowledge the person who is making me do this. That would be my fellow Myrddin author Connie J. Jasperson, who is constantly poking and prodding me about everything from absolution to berserkers, cadavers to doggerel, elementals to fantasy games, and on to happy institutions that juxtapose karma and lingerie, and much more; nothing opposing pedantic quiverings, surely, though ultimately variety wins (and xylophones--yes, zealously). It's really exhausting sometimes. (Kidding!) Her blog is Life in the Realm of Fantasy.

So I've decided to humor her and indulge myself on the strange topic of the process of writing, especially the writing of my novels.The first step of the process of writing about the writing process is to list the steps.



The Writing Process

There have been blogs in the past where I contemplated writing about my writing process but it always faltered because my process varies from project to project and the seasons and the quality of coffee I consume and other factors. Hard to nail it down. It may also be ironic to note that, in my day job, I am tasked with teaching such a process of writing to college students. It's like a song I play over and over every semester. And it goes a little bit like this:

1. You get an idea by reading, surfing the internet, talking with friends, brainstorming, drawing out a map, web, cluster to visualize things, thinking a lot, or just simply asking your teacher "What should I write about?" or, in more terse terms, "What the heck do you want?"

2. Then you organize your idea, keeping in mind the format of an essay and balancing that with your audience and your purpose in writing about the subject of your choice. We will need a beginning where you introduce your subject, a middle where to explain and give details and examples about your subject, and a conclusion where you make your readers feel all warm and fuzzy about your subject.

3. Drafting comes next. That's where you hammer out your ideas. You don't have to start at the beginning and write through to the end. You don't need to thrash about in anguish if the words don't come out perfect or beautiful the first time. Just start. Open thy mind and summon thy muse!

4. When you have the draft finished, read through it and see if your ideas flow logically from one to the next one. Check organization of paragraphs. Look at the thesis statement (your whole essay stated in one sentence) and each of the topic sentences (what the paragraph is about). Make sure you have something which "hooks" your reader's attention at the beginning and something poignant or clever which closes your essay.

5. Edit and proofread. Several times. Do not rely only on the spellchecker function of your word processor application. Read it at least once with your own eyes (fifteen times is better). However, your eyes can be fooled: try reading aloud once and you'll likely hear some problems your eyes did not catch. Have someone else read it to get another pair of eyes on the text. Look for problems with syntax, especially sentences with comma splices or sentences with no punctuation (run-on sentences), or fragments which are not complete sentences. (I actually have a complete and exhaustive checklist of everything that can go wrong with an essay writing assignment that I give to my students.)

6. Finally, publish that thing. For school, that means give your paper to the instructor who will evaluate it and assign it a grade. For the real world, that means sending it to someone somewhere in the hopes that he or she will find it so worthy as to not only give it a grade but go through further steps to share it with the world, and perhaps pay you for that privilege. Movie rights sold separately.

These are the steps in a quick-and-dirty synopsis. The reality is much more eclectic. More so if the writing is fiction rather than expository writing in an essay format.


(It occurs to me, checking back on my set of instructions, that I am covering the material in reverse order, but, this being my blog, I shall not care.)

Getting Ideas

When I am writing a novel, the initial idea comes from any of a hundred possible sources. There is no one pattern. It comes as a bright splash of color erupting in my mind while reading, seeing a film, having a particular life experience, or couched in a dream. A moment caught in time, as it were. Yet before I can do anything more than have my next heartbeat, my mind runs off with the idea, unfolding an elaborate scenario before my mind's eye and creating a narrative several levels beyond its spontaneous beginning until I manage to pause, exhausted, and struggle to recall where I was and what I was doing when that emotive outburst stunned me. It's often a curse, often a blessing. Then, when I finally have the chance to sit down and begin writing this new idea, I simply chisel out an interesting or significant scene: perhaps the one which started it all, not necessarily what will be in the first chapter, but something, anything, just to play with it, see where it will go, see if it has possibilities, see if it interests me enough to keep working on it.


For example, my romantic action-adventure novel AFTER ILIUM (2012) began in a graduate class on Classical Rhetoric where we read and discussed the Encomium of Helen. It was the Greek Sophist Gorgias's defense of Helen as the victim of an abduction and cause of the Trojan War rather than willing accomplice of Paris (the result was that they welcomed her back to Greek society without retribution). Immediately, I contemplated a modern scenario which would parallel the ancient story. So here is Alex Parris, fresh out of college, meeting a seductive older woman, Elena (Greek for 'Helen'), on an Aegean cruise and their subsequent visit to the ruins of Ilium/Troy. I ran with it.

My campus anti-romance, A BEAUTIFUL CHILL (2014), began with some real life experiences, minor as they were, which snowballed through the rest of the school year, following the rhythms of the academic cycle as well as the seasons, as I role-played a what-if scenario much as I described above. I did go to a reading by the visiting writer-in-residence one Friday night, which happened to also be Halloween. There was also an art exhibit going on in another part of the building, and there I did encounter that redhead beauty, an art student, who became the female lead in the novel. What if...? Later in the novel, the male lead teaches a Shakespeare course; in reality, I took that course as a graduate student. It fit nicely into the flow of the novel.

As for THE DREAM LAND trilogy (Book I 2012; Book II and Book III 2013), I've written of its origins previously on this blog. To summarize: my childhood fantasy games with imaginary playmates evolved into a compilation of quasi-militaristic scenarios on an alien world--simply because I did not want to fit my ideas into the real history of Earth. Then, years later, I had a dream one night which so provoked me that I had to start the novel; that dream was the opening scene of the novel through many, many revisions until finally being pushed back a couple chapters in the final version of the novel. At the time, I thought it would be a single, stand-alone novel, but, thankfully, ideas remained--questions remained and needed to be answered. In fact, I was deep in the middle of Book II when this new hobby of blogging entered my life so I began blogging about Book II as I was finishing it. Indeed, the name of this blog comes from the setting of this novel. Then Book III exploded through my psyche last year, consuming 30 hours of every day. (I could write a fourth book, I think, but that would ruin the concept of a trilogy.)


Other novels I've written, which are awaiting fresh revision, include AIKO, a novel of Japan written while I lived in Japan. Ironic, huh? The idea came from a local news story and, to me, seemed reminiscent of the Madame Butterfly opera, so I tried to tell it from the man's point of view. With significant revision, I entered it in Amazon's Breakthrough Novel Award this year but it did not pass the first round, where a 300-word description must entice a nameless judge to desire more.

YEAR OF THE TIGER began as a sci-fi story of a man hunting a monster on a far off world. Using the story in a college English class, I transplanted the characters to Earth and chose the tiger as my hero's nemesis. It went from longest short story to screenplay during a subsequent college class and one long summer even later, it became a full novel. Again, the what-if motif: What would it be like for a man if he shared his consciousness with a wild animal, say, a tiger?

THE LAST SONG is a post-apocalypse musical. Structured in four movements like a symphony, readers quickly come to understand they are in a futuristic opera where the conflict over the last possible combination of notes in a society surviving only through their obsession with music serves as catalyst for violence. What-if again: What would a society obsessed with music be like?

My first longish work, started in high school as a novella (composed paper page after paper page on a manual typewriter!) then transposed as a screenplay in college, was THE LIE (original title: In Pursuit of Happiness). It was basically a 1984 rip-off of a totalitarian society, but its saving grace is that I set it in a small town in California--which for most of the story seems to be a 1930s Nazi-styled corner of Europe--and it is eventually overthrown, unlike the society in Orwell's novel. (Please ignore that spoiler.)


Now, to get back on track with this blog hop protocol. I'm supposed to begin with addressing this question: What am I working on? I can do that while also continuing to riff on the "getting ideas" theme.

My current work-in-progress is a novel I'm calling A DRY PATCH OF SKIN, which is what I like to label a "realistic vampire story"--my first paranormal book. Even in childhood I was never one to believe much in magic; I expected a scientific explanation for everything. That may seem to go counter to my one-time childhood aspiration to embark on the amazing life of a stage magician. The idea no doubt came from all the current vampire-themed books, movies, and television series, none of them of much interest to me although I saw several of the Twilight films and have read Dracula in my youth and I've seen the 1992 Gary Oldman film version. The whole notion of vampirism never piqued my interest--until recently.

What pushed me to actually start writing such a novel probably came from two sources. Again, there was a real life experience which my mind latched onto and ran with: a personal brush with morbidity coupled with meeting someone special, then filling my mind with all sorts of depressing thoughts. Also, strange to admit, the cover image of fellow Myrddin author Shaun Allen's book SIN. The cover depicts a man's face in a rather horrid state of decay. I'm sure the intention was as a metaphor for the decay of the protagonist's soul, that is, his morality.

Yet it reminded me of a report I saw long ago on one of those television news magazine shows about a man who really suffered from a disease which mimicked the characteristics of vampire legend. He could not go out in sunlight lest his skin flake away; his appearance was hideous (yet he had a wife and children, presumable prior to his transformation); he got some relief by ingesting blood. Thus, I merged all of this and decided to see if it would go anywhere. Now at 60,000 words, just past the mid-point, it seems likely I can complete it later this year.


Now that I've frittered away my blog time, I've only partially completed my assigned task. I am next supposed to address the question How does my work differ from others of its genre?

That is a loaded question because I am writing now in three different genre. I began in my teenage years in science-fiction, leaning sometimes into fantasy; I seemed to do better keeping it more sci-fi than fully enter a magical realm. Personal tastes. I read a lot of Ben Bova, Andre Norton, Isaac Asimov, Clifford D. Simak, Arthur C. Clark, Ray Bradbury and others like them. Then I gradually shifted to Robert Silverberg, Michael Moorcock, and Roger Zelazny. I never had patience for such figures as J.R.R. Tolkien or C.S. Lewis. I liked my sci-fi edgier (this was admittedly before cyberpunk came along) and sexier (as an adolescent boy, that seemed a natural inclination). So, as many writers claim, I wrote what I wanted to read. Thus, my sci-fi trilogy THE DREAM LAND is the kind of story I wish I could have read while growing up, just naughty enough to keep it interesting, just scientific enough to make things plausible, just "magical" enough to make plot elements fit together smoothly.

But I also write literary romances--or, as I like to call them, "anti-romances" (which is the reason they are rejected by traditional Romance publishers: things don't work out in the end for them as a couple, but one usually becomes empowered and moves on to bigger and better things). In the MFA Creative Writing program I went through, I was pushed to write more urbane, New Yorker-style stories full of realistically quirky characters with snide wisdom who have problems which are grave to them yet hardly worth a whimper to readers. I never found that niche. I tired.

During that time, I fell into the story that became in the next year (after living through that year's events) my novel A BEAUTIFUL CHILL. It could be called a campus romance, because that is on the surface what it appears to be, but I hope I have infused it with plenty of "details" that give it a wholly unique feel. I was quite proud of myself for crafting such a "realistic" (i.e., not sci-fi) story that was "deep" and "emotive". However, it has had a long journey, never finding the right publisher willing to take a chance on something that did not fit neatly into a marketing category.

AIKO, my Japanese "love story", is literary, as is AFTER ILIUM--both books in which male meets female and gets into trouble, tries to get out of trouble, hopes for the best at the end. One ends happily, one doesn't.

And then there are the oddities. YEAR OF THE TIGER is a work of magical realism. That is, a story in every way believable and plausible for contemporary society except for one particular "fantastic" aspect, usually something upon which the whole story depends. The mental connection between the tiger and the man who is hunting the tiger is the magical element in an otherwise straight hunting tale.

And THE LAST SONG has the basic elements of post-apocalyptic stories but I've added the musical elements, playing that aspect for laughs and for pathos.


I think I may also have inadvertently answered the next question: Why do I write what I do? But let me add something more. 

Quite simply, I write stories which intrigue me. The what-if scenario. If this happens, then what? Given two people like him and her, what would happen? It's a kind of curiosity, I suppose. What would it really be like if two teenagers found an invisible doorway to another world and got stuck there? Seriously, what would they do? Freak out? Learn to function? Try to find a way back? Those were THE DREAM LAND questions, of course. I tried to depict two such people as I believed they would naturally react to that scenario, that situation. On short, I write the kind of books I want to read. I hope other readers may also want to read something a little off center, a bit to the edge of the genre or cross-genre, something not quite the usual or fitting cleanly inside a formula. I like twists and turns, and threads which do not always tie neatly by the final page.

This brings us back to our initial inquiry about "my" writing process.... 




Drafting

Above, I briefly described the writing process I promulgate to my students. To some extent it holds true for any writing task. Even for fiction. However, fiction is more delicate, more fragile, and the idea of a story is subject to so many more mini-steps than some academic essay. I would need to address "my" personal writing process in light of each book, requiring about a year's worth of blogging. I've described the "getting ideas" step. The next step, drafting, usually requires me to craft scenes. I began using this approach when writing A BEAUTIFUL CHILL and have employed it ever since.

The one great thing I learned in my MFA program came from a visiting writer-in-residence one semester. David Huddle, whom I'd never heard of prior to his arrival, taught the formula which I've come to call the Aria - Recitativo structure. I forget what he called it, but we read many examples of this two-pronged attack strategy. Rather than get bogged down thinking of a whole story, focus on one scene. A scene is a moment in time, written and read in real time, moment by moment. It shows characters acting, speaking, living--which moves the story along. Between the scenes is what is called exposition. It is a compression of time and events, because they are not so interesting in themselves and they are of little consequence. We need them to get from one scene to the next, so we tell something to bridge the gap. We could say that the scene is the "showing" while the exposition is the "telling" part of the story.




So we have two parts of a story: the scenes and the exposition. In operatic terms, these are the Aria and the Recitativo. The Aria is a set-piece where the actors/singers stop the story and sing a song about how they feel or what the problem is or anything else that reveals something of the central issues of the story separate from the story line itself. Then we are into Recitativo ("recitation"), which is simply the information we need to move us on to the next Aria. People don't go to opera for the recitativo, nor do readers buy a book for the exposition passages. But they are necessary for tying aria to aria and scene to scene.

Granted, this is a simplification of both the opera structure and the structure of a novel, but if you examine contemporary novels, you are likely to see this structure. I've also heard it said that this writing style, this system in particular, has come about in parallel with the film industry. Younger writers write prose as though they are seeing the action in a movie. Readers, experienced with shorter, more succinct and set narrative patterns of television and film, seem to prefer this structure, as well.



So that is the bulk of my process of drafting. I seldom create a full outline but rough it ahead a few chapters or scenes. For example, I need a scene to show X or a scene where Protagonist realizes Y or decides Z. Often I begin in the middle of a scene and fill in what-happened-before as I go on with the scene. I try to avoid starting a scene with a setting description, at least not a long one. Knowing I have a tendency to wax poetic with wonderfully adroit metaphors, I try to keep the writing as lean as I can. Once in a while, especially where characters emotions are revealed, I allow myself a worthwhile indulgence of verbosity. Editors hate me for that, of course.

At each writing session (that is, when I have no particular schedule that would limit my efforts), I begin by reading what I previously wrote and editing as appropriate. That activity gets me into the story once more and when I have arrived at the point where I stopped previously, I am ready to charge ahead into new territory. Occasionally, I may awaken with a new scene in my head and I will write it out before determining where it should go in the story. Sometimes, I wake up and write the scene that is in my head without editing the previous section first. Sometimes, I just stare at the computer screen waiting for the muse to whisper into my ear. While waiting, I drink a lot of coffee.

I also like to play "soundtrack" music which sets the mood for the scene, or for the story in general. For example, as I write my vampire book, I dare play music from the films of Twilight, although it does not cause me to borrow anything else. The music must be without English lyrics because that distracts me from the words in my head. While writing Book III of THE DREAM LAND trilogy, a fine collection of "Epic" music, typical of video games and sci-fi films, served me well. (See a sample here.)

I have two writing sessions: morning and night. Mornings are good for editing and building on previously written text. Night is best for fresh composition--providing I can get motivated. The irony is that I must be exhausted physically and mentally before the words come easily. Mornings, I tend to trudge in zombie-like to the computer and start typing without too much "waking up"--even as the coffee is being made. I think in both cases, my filters are down and that allows unobstructed creation. My typing is better in the mornings, for some reason. The more I awaken, the sloppier my typing becomes. Those muses! Such pranksters!


Revision

When I have finished a novel, I follow the usual protocol: give it some time to settle, then read it fresh from the top. I do a thorough edit, scene by scene, chapter by chapter. Because I think a lot and mull it over for sometimes quite a while before actually typing, and because I edit as I go, I am usually pleased with the initial result. THE DREAM LAND Book III was my "dream" project because it flowed so easily and smoothly that it came out nearly perfect (in my humble opinion). I blame years of training and lots of coffee and a summer free from distraction for that miracle. Only in a few scenes did I struggle to get it right, changing the words and then later changing them back several times until I said to myself "Enough!"


My current project, A DRY PATCH OF SKIN, flowed well from the start but bogged down when I had to pause to do research. Then I got it flowing again but once more had to pause to do research. I finally decided to just write it straight through to the end and go back later to add in researched information, in this case, medical data. Each project has its own writing process, obviously, and each kind of story may also have its own method of creation. I try not to judge, but go with the flow. My muses seem to know what's best, although they often trick me and laugh at the results.

I know some of my quirks in writing, the set phrases I seem to use over and over. I know I tend to overuse certain words. Therefore, as a final step, I usually run a check of those particular words and phrases and edit each one personally, according to the situation in the scene. It is a laborious process, but I am old-school and do not trust technology to do everything for me exactly as I wish it. I have been tricked before. So I take the time to look with my own eyes at every instance of imperfection and fix it myself. Yes, I do suffer for my art. It's also why I wear glasses.

So that is something about how my writing process works. In short, it's a rough process at best, and the devil is somewhere between the details, waiting for opportunities to thwart my good intentions. The other side of the writing process, as all writers know, is that without the writing we nearly cease to exist. I cannot go very long without having a project to work on, either writing something new or working on an existing or older project preparing it for publication, no matter how long that takes. Otherwise, I wither and die. Nothing keeps me alive like the desire to know what happens next. And I won't know until I write it.



NEXT WEEK

Finally, the last step of this blog hop business is to divulge who gets hit next: in other words, who is next on this tour de writing process. Who will they be? Perhaps it shall be a surprise. Everyone likes surprises, right? Once I know who our lucky bloggers will be, I'll update this blog entry. Fair enough?


PS--Thanks, Mom, for buying me that Smith-Corona manual typewriter when I was in junior high, and the IBM Selectric typewriter when I was in college. And all those reams of paper. And then staying out of the way. Now please buy my books! Oh, and Happy Mother's Day!



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(C) Copyright 2010-2014 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.