Two years and one day ago, I tweeted the following picture:
I was so happy that night. Things were good at school, Christmas was coming, Hapax was out and I was clearly on my way in writing, and I was suffused with love and good will for the people at Black Creek, my coworkers truly becoming my friends.
Less than twenty-four hours after I posted this picture, my life shattered.
I went to choir the next morning. This was December 16th, 2012. The Sandy Hook shooting had just happened, and part of the sermon reflected on the loss of so many lives, the pain their families now carried through the Advent season. I can’t even imagine, I remember thinking, my toes dangling off the back of the kneeler. I can’t even imagine what it would be like, losing someone so close to the holidays.
Less than twelve hours later, I knew.
My father died two years ago today. And honestly, that’s something I’m still trying to wrap my head around. It’s been two years. My dad is dead. He’s been dead for two years. It doesn’t even make any sense that my dad—my vibrant, lively, healthy dad—is dead. But two years? Jesus Christ.
This may be a little trigger-y for a bit. If you want to scroll down, I will put a picture of a cat. Past that, it’s all hope and love again.
Okay. So sometimes, I still need to talk about the horror of that night. Sometimes, I still need to tell the story again. This is, I’ve found, something that happens with grief. Friends and loved ones can be reluctant to bring up the event, in case it makes us sad. Well, guess what? We’re already sad, and talking it through, recapping it, putting it in order again, and again, and again, is the only way that we’re going to process it. Saying it out loud makes it real, but it also brings it out of our heads. It gives a bit of distance, so we can try to understand what the fuck happened.
Even two years later, I still need to tell the story sometimes.
So, around 9:00 pm on Sunday, December 16th, 2012, I was sitting at my kitchen table. A friend was over, doing some rough sketches of Serafine. Shortly, she and my other friend were going to watch Love Actually. I was trying to convince myself that I could totally take another night off studying for exams, because Love Actually was a Christmas tradition and I hadn’t seen it yet that year. Of course, I really needed to study, but—
My phone rang. It was my sister. She explained that she and Mom were coming to fetch me right now, and then we were all going to the hospital, because Dad had had an accident playing hockey.
I was not overly concerned at this point. It wouldn’t be the first time he got hurt. When I was small, he’d nearly lost an eye when he took a hockey stick to the face. Maybe he did lose it this time, I thought. Because I had been in hospitals before, I had the presence of mind to pack my bag with my textbooks and notes. After all, waiting for X-rays and CAT scans took a long time; I’d be able to study while he went through those.
As I tugged my boots on, I suddenly thought of my grandfather. During my first year of university, he’d driven himself to ER, promptly had a massive stroke, and died a week later. Wouldn’t it be awful, if—if—but no. I figured that maybe worst case scenario, Dad had taken a really bad blow to the head. Maybe really, really worst case, there’d be some brain damage, a bit of rehab. But that was super-worst-case. It couldn’t be that bad.
My mom and sister picked me up off the street, and we drove to the hospital. Traffic crawled. I remember the copper-orange of the streetlights. At one point, we crossed the foot of my friend Blythe’s street. I’d just been to her apartment for the first time, and I gazed up the street, wishing that Mom could just turn here, like I was just going to hang out with her.
My grandparents arrived at the same time we did. Some of Dad’s hockey team were already in the waiting room. I knew some of them—they all seemed very shaken. Memories fragment here. I don’t remember exactly what was said. I remember trying to shield my sister, dragging her over to a vending machine around the corner.
A man in scrubs led us into the labyrinth of emergency care behind the receptionist. He had blue scrubs, a long black ponytail. We passed curtained-off alcoves, cots and IVs flush to the wall. As we walked, a curious numbness settled over me. This is the scariest thing I have ever done, I thought. I remember thinking that, but also still hoping that later, the warm flush of relief would come. God, Dad, we were so scared, and for nothing—isn’t that funny?
The man in scrubs led us to a small, cream-coloured room. It had two brown, slippery couches, a shiny black coffee table holding a Kleenex box, and a cross on the wall. That’s when I knew that things were very, very bad. You don’t bring people into rooms with crosses if everything is going to be okay.
The man in scrubs explained that Dad had had a “cardiac event” and had gone down on the ice. Wonder of wonders, there had been a firefighter and a cardiac specialist on the opposing team. CPR had started right away, they’d used a defibrillator right away, and the ambulance had been called right away. Absolutely everything that could have been done had be done, as quickly as possible.
And they’d not yet been successful in resuscitating him.
I may or may not have been slightly aggressive with the doctor. I may or may not have been told to relax. Then we went to see him. Around yet another corner, there was yet another curtain, a sectioned-off portion of emergency. We went behind the curtain.
And I knew, the moment I saw him.
There was no resuscitating. Not anymore. We were long past that. It was disorienting—on the one hand, it was just Dad, lying on a gurney. On the other, he looked so old. Chalk-grey skin, shirtless, tubes going into his nose and mouth, electrodes on his chest. A technician furiously doing compressions. Dad’s mouth gaped open a little, and that’s what really struck me: the way his cheeks sagged inwards, the way there was absolutely no muscle control, everything was just limp. Lifeless. Two years later, and I still sometimes see it. The horror doesn’t lessen with time. You just don’t think about it, until you do, and suddenly, you’re back in that room, with the metallic smells and the beeping, and Dad’s cheeks collapsing on themselves.
We asked how long they’d been doing this.
About forty minutes.
How long could they reasonably keep doing this?
They were about at the limit.
So, if his brain had been forty minutes without oxygen, then—
Then it was time to stop.
I couldn’t touch him. I couldn’t touch him because I knew that he was already cooling, and I was too scared to feel it. And so, cowardly, I stood very close, wanting to touch him one last time, wanting to give one last hug. Someone asked if we wanted a chaplain. “He’s Catholic,” I said. “He needs Last Rites.”
Tears spilling from our eyes, we wandered the emergency department: making calls, trying to figure out next steps, reassuring the hockey team that it wasn’t their fault. I vaguely wondered what the other patients thought. Probably they knew that some lives had just been permanently changed. We’ve all been there. We never think we’ll be the people crying.
I wandered back just as a chaplain began the Lord’s Prayer. I collapsed next to my grandparents and said it too. I don’t think they realized I knew more than “Our Father.” I talked to a cop. I gave dates of birth, addresses. I agreed that yes, I was very young. I stayed with my sister, who was refusing to leave the body.
But then I looked over, and I saw that a rosy red flush was blooming along the underside of Dad’s cheeks. And that is another horrific detail that’s branded itself into my memory. See, for a scene in Hapax, I’d had to research what happens to the body shortly after death, and so I knew precisely what this was. Without the action of the heart to keep blood circulating, gravity will cause it to pool at the lowest points of the body. When a body is lying on its back, that’s the undersides of the arms, the legs, the face…
I was right, I thought.
And then I had to leave so that I could go vomit. I never saw my dad’s body again. (My choice, incidentally, to not stick around for the open-casket portion of the visitation later that week.)
We returned to my mom’s house. I had to send a bizarre text (“Sorry, I can’t study tomorrow. My dad died.”) and then I called my childhood best friend. Numb, shocked, broken, I didn’t want to go to bed, because I dreaded waking up—I didn’t want that moment of remembering what had happened the night before, feeling it fresh all over again.
I think I fell asleep around 5:00 am. I was up by 7:00. I emailed my registrar, asking to defer my exams on Wednesday. I emailed my bosses, asking not to be called that week. And then I called my friend Rachel-the-Anglican-Priest. I’d been in her office the week before, seeking counsel for stress and family tensions. Now I had to explain, “So…new developments…”
This whole thing was so bizarrely scripted.
As promised, the picture of the cat says that things get a little more hopeful from here.
My maternal grandmother and I went to the church around eleven to sort out funeral details. Although my Dad was technically Catholic (and while I still am, technically), they could do a very inclusive service. They could recommend a good funeral home. They could help us through this—it was going to be all right, I had a community at Grace Church that loved and supported me.
I had cried in the hospital, but it had been like the tears were seeping out slowly. My grandmother stepped outside of the office, and then, alone with Rachel, I sobbed for the first time. And when she told me that it was terrible, and unfair, and painful, but that they were all there for me, I believed her. For a while, I’d considered Grace a safe place—but here it was, when I needed it most, as a rock in my life.
Thank you, all of my family at Grace, for doing infinitely more than I could ask or imagine. Ubi caritas et amor, Deus ibi est. Where there is love, God is there.
Around two o’clock, I was at loose ends. My sister had been swept away by her friends and Mom was huddled on the couch with all of the relatives. I paced aimlessly. What would make me feel best right now? I asked myself. Who do I need to be with?
The answer was undeniable, if somewhat surprising.
Blythe. Right now, I need Blythe.
Sure, we were friends. Sure, we saw each other outside of work. But this was heavy stuff. Was it too heavy? I hesitated, looping the kitchen. The answer didn’t change. And so, I texted her, asking if I could come over and escape the madness for a bit. As I sent it, I figured that I’d get a responding text in a few hours, maybe.
She called me before I’d even slipped my phone back in my pocket.
My uncle drove me to her place. At that point, I’d actually only been to Blythe’s apartment one time, so I was a little uncertain as I directed him there. But, soon enough, I was standing outside her door. As I jabbed the doorbell, part of me wondered what on Earth I was doing. The rest was just too numb.
The door flew open. “Hi!” Blythe said. “Come on up!”
Turning, I waved to my uncle, then followed her up the narrow staircase. Maybe we made awkward small talk, I don’t really remember. What I do remember is that Blythe went into the apartment ahead of me. I bent down to take off my boots. When I glanced up, she was standing in the middle of her kitchen, looking at me: not with apprehension, but compassion. Suddenly, absolute certainty rushed over me. This was the right place to be.
She hugged me. She badgered me into eating part of an apple. Gave me odd jobs to distract me. And while the two of us tend to have different accounts of these sorts of things, I think it was then that things changed between us. We were friends before, certainly, but supporting someone in so much pain and shock is an entirely different thing. When I needed someone, she was there without question. I honestly do not think I could have managed those first few months without her.
Thank you, my friend—thank you, and all of my love.
On Wednesday, I went to work. I remember running out of the car, throwing the door open before Mom had really stopped, and booking it through the village. Like Grace, this was my place of safety. This was home. In hindsight, it must have seemed bizarre. Here I was, roaming the village with a haunted expression, dodging crowds of schoolchildren. This was my workplace—why on Earth was I there?
Because I needed to be. And credit to my supervisors and coworkers, they let me do my thing. They let me wander bleakly, surround myself with the people and places I loved. Some people came to the visitation that night (for which I was profoundly grateful, I couldn’t have done that without them—walking into the funeral parlour and seeing the casket, it was heartbreakingly, crushingly real). There was a card, filled with love. My boss sent a handwritten note. I still have all of these things.
Here is the thing about death. For the most part, it doesn’t make sense. If this was a novel, my editor would never let me get away with it. “What? And then he dies? No, that’s stretching credibility too far.”
When death strikes like this, the normal rules cease operating. And so we cry in our friends’ offices. We crash other friends’ dinner parties. We walk around our workplace because reasons. And people, for the most part, are just as stunned as us. Unsure how to react, they do the best they can: opening their arms with love, drawing us close, holding us near.
When you are grieving, nothing makes sense. You worry you’re too sad. You worry you’re not sad enough. You worry about burdening your loved ones. And at the same time—you need, desperately need that human connection. You need to be able to tell the story, as often as it takes. You need to be vulnerable, to cry—and also, sometimes, you need to go skating and live normally for a few hours, away from the sadness.
And if a grieving person comes to you…ask them. Ask them if they need to describe what happened again. Ask them if they just want to sit. Know that they may think they’re fairly functional, but in several months’ time, they will realize that they really, really weren’t.
Love us. That’s all we need.
It saddens me that almost everything that is now important in my life—working full time, Stonecoast, the nice young man, beer, my writing family, my current friendships—happened after Dad died. My life now is completely different from my life two years ago. But that’s what happens.
We heal, but we don’t recover. I will never not be sad about my dad. Every December will be hard for me. The body remembers, longer and more vividly than the mind. The body remembers the fall of light, the weight of the wind, the pattern of the clouds overhead. We don’t get over the loss; we make it a part of us, growing into and around it.
When a writer loves you, you can never die. Dad’s fingerprints touch my work now, even if it’s his death bleeding through again, and again. In the Victorian Dark Fantasy, Sara’s grief plays out alongside my own. In short story after short story, I try to use words to build a ladder down into the abyss, using fiction to go where I can’t.
Two years on, and I am usually happy. Sometimes I am sad, but usually I am happy, and I miss my Dad more than all those words can say.
So, in order to get time off for Stonecoast this July, I traded a whole bunch of shifts at work…which has resulted in me working eleven days straight. Right before that, I worked ten days straight—I had a day off in between the two stretches. Plus, I write at night.
I shouldn’t complain. I know people who work more hours, longer stretches, more stressful jobs.
But darn it, I really just want to sit alone by myself for a day. In the dark. And silence. Without people. Alone.
Huzzah for introversion!
As most people know, introversion isn’t about shyness or anti-sociability. It’s about energy production. Introverts generate energy within themselves, and lose it during social interaction. Important caveat: the energy loss varies from person to person. Chilling with friends takes energy, but significantly less than dealing with irate customers or dozens of strangers at a party. By contrast, extroverts generate energy through social interaction, and lose it when they have to be alone.
So ideally, for an introvert, life should look something like this:
And for an extrovert:
Energy loss more-or-less equals energy generation. For introverts, that means that they get enough alone time to balance out the social interaction (which, while fun, is expensive, energy-wise). Extroverts get enough people time to compensate for the times that they’re alone. Everyone is happy.
It doesn’t always work this way.
Sometimes, like at cons, the creative environment and awesomeness of seeing everyone face-to-face masks the energy loss. That’s why so many introverts collapse after conventions; we’ve been steadily losing energy all weekend, we just haven’t really noticed. Adrenaline does the same thing. We had a fairly busy weekend in the brewery recently—and man, I was flying.
Sample! Growler! Growler sample growler! RETURN GROWLER SAMPLEGROWLERSAMPLESAMPLE!
And then I went home and promptly crashed.
Since Balticon, however, my own graph has looked more like this:
It’s out of sync. My alone time isn’t enough to pay for the energy I’m spending on work, writing, and various other things. Think of a bank account. If my paycheque is suddenly slashed from $500 to $100/month (I’m using round numbers, bear with me), I’ll go into debt if I keep trying to pay my $200/month rent (again, I am pulling these numbers from the air).
Whether you’re an introvert or an extrovert, your energy source is just as important as food and water. Extroverts need people. Introverts need solitude. Force them to go too long without their generator of choice, and bad things happen.
All of which explains my own exhaustion and irritability. Yeah, I’ll own up to that—I’m trying very, very hard, and I feel terrible after snapping at people, but it happens.
But what can we do? After all, at some point, every one of us will go through stretches like this.
Setting boundaries and limits helps, I think. I am protecting my few off-days. Communication, as well: explaining to people that you love them, AND ALSO need to sit alone by yourself in such solitude that you cannot even sense the presence of another human being.
And of course, knowing yourself and maybe planning for those stretches. For me, some of these extra shifts were unexpected; I’m trying to roll with it, but having strategies in place—carving out time with/without people, allowing yourself breaks, getting enough sleep and such, which I admit I struggle with—might have made this easier.
Ah well. Only a few more days. And then—
Cool Thing of the Week
Apparently, I’m getting a reputation as a lush! My ten-year-old self would be horrified. Two people sent me the same link to 18th century drink recipes—I raise my eyebrow at the ones with egg and cream, but some of them actually look quite good!
I sat at the spinning wheel. Grey afternoon light fell through the window behind me. The spinning wheel clicked gently as I moved my foot up and down. Pinch the wool. Draw. Release.
Besides the clicking, the log cabin was quiet. Faint traces of wood smoke lingered, but the hearth was growing colder. With no one else around, I let my mind wander.
Pinch. I hope they’re taking care of him. I wonder if he misses me. I wish I was there—I should be there. Draw. It’s meant to be me. I trust Mairi, but it’s meant to be me.
He’s my son.
Ha! Startled some of you, I bet.
So, here’s what is happening. I think the Victorian Dark Fantasy is starting to gel. The novel has changed throughout Stonecoast—I think the plot’s getting there, now I’m bearing down on voice and character. To help with this, my thoroughly brilliant mentor posed me an interesting challenge:
One thing you might want to do, and this will sound less strange to you as a playwright than to other people, is to go around being each of the main female characters for a while, and do things the way they would do them. How do you feel as those characters? How do you walk and talk?
I laughed in delight upon reading this. So…I thought, grinning, I spend most of my days wearing period-appropriate clothing, doing period things…
Plus…I kind of stole half our buildings.
Heck, I can reconstruct entire scenes in these buildings, mapping out exactly where this character was standing, where that one paused before coming around the corner. It’s like being on a movie set.
So…I have the right clothing (mostly—for two of them, I really need a crinoline, and I only wear that in the brewery), I’m doing the right things, and I’m in the right place. Sometimes, it’s almost a little disorienting.
It’s also taught me a lot.
I’ve always talked with my characters. Usually as mental knitting—on the bus, while walking, during quiet times at work. Just relaxing, asking questions, hearing what the response is. Sometimes full-on conversations develop; Serafine, for instance, rarely shut up once she got going.
It’s one thing to invite a character into your head. Thus far, it’s been quite another to invite them into your skin. Really, really cool, but different. Because this way, I’m not guiding the discussion. I’m not prompting anything. I’m essentially retreating to the sidelines and seeing how my characters assert themselves once they have the space and freedom to do so.
- One worries far more than she lets on; she’s clinging by her fingertips.
- In another time, place, and culture, one could be a geek girl. As it is, she’s sensitive, carefully (and constantly, my God!) analyzing and observing.
- And the last POV character…I don’t think I ever really understood the depths of her possessiveness, her sense of entitlement.
My circumstances definitely give me a leg-up, but it’s also interesting to take characters on field trips. Point out a streetcar, stop in a grocery store. What do they think, how do they react to this world so unlike their own?
It’s been fun—and I still love working on this story, still love exploring these people and their lives. Even after so long (yeah…longer than I anticipated…) the joy hasn’t ebbed.
Let’s just hope that I never, ever answer visitors as my villain.
Actually, that’d be hilarious.
I’ll be good. ;)
Cool Thing of the Week
So, there’s the solar system, right? Then our galaxy, then our “local group” of galaxies, then our galaxy cluster, then our supercluster…and then the filaments.
The thought makes me shiver. So many stars and worlds, so much void between them…
More than anything, it makes me want to write.
I don’t often write poetry. Sometimes I get the odd one, but I almost never share my poems.
But when I do, they become opera arias…
Story time! New Zealand and I adopted each other long ago. I love the landscape, the people, the culture, the history…but when I backpacked around the country by myself, I got a little homesick. To be clear: I had an amazing time, with once-in-a-lifetime experiences, and I do not regret a single second.
And I also missed home.
So, one day while riding the InterCity bus between towns, I stared out the window at the impossibly green, mist-shrouded hills, and I composed some verse in my head. When I got to the backpackers’ that night, I tapped it out on my phone. Several weeks later, when I came home, I transferred it to my computer.
I liked it. Nothing super fancy or experimental; I wanted something simple. It had an interesting meter, though. The pattern of stressed syllables reminded me of someone running. Which was exactly what I wanted. It captured those nights in hostel bunk beds, staring at the bunk above me and trying to work out which direction home lay. I figured the poem might be interesting set to music (again, that very bare, understated pub song feel), but I don’t compose. Heck, I barely write poetry.
I came home. I forgot about it.
Fast forward to January 2013. I was rewriting the libretto for East o’ the Sun and West o’ the Moon. Since I was eighteen the first go-round and the performance requirements had changed in the interim, I was mostly rewriting from scratch.
Rose (our plucky young heroine) had an aria. There were some duets and trios, several chorus numbers for the kids. But the White Bear/Prince didn’t really have an aria of his own. I started thinking about how the enchanted Prince would feel: roaming through the northlands, lonely and just wanting to be warm again, waiting to come home…
And a spark of emotion and memory flared.
I dug into my files. I found the poem. It already had a strong meter; I’d already wondered if it would work with music.
Time to find out.
I slipped that poem into the opera almost unchanged (I think I altered the tense of one verb, maybe?). And there it’s stayed. My partner in this—composer Norbert Palej—did a beautiful job with the aria. I didn’t tell him what it was really about, and yet he crafted a lovely piece. The music aches.
Nothing you write is ever wasted. You never know when thoughts, emotions, and memories will reappear to inform your creative work. Save it—because someday, it may find its home.
Cool Thing of The Week
You didn’t think I’d go through all that without showing you the poem, right? I mean, it’s part of an opera now: I think I’ve lost any rights to qualms over sharing it!
I was waiting for the passing
Of the bleak and bitter night,
For the fleeing of the shadows
And the coming of the light.
I was waiting for the dawning
Of the absent summer sun,
And the waiting warmth that spurs me
On the distant roads I run.
I was waiting for the tasting
Of the season on the air,
For the old familiar fires
Breathing smoke upon my hair.
I was waiting for the greeting
And the chorus from the hearth,
For the end to all my calling
From the very end of Earth.
I was waiting for the sighing
When I stood before your door.
I am waiting, and so dying –
Waiting just a little more.
“I think the word this year,” quoth Tee Morris at the Shared Desk live cast this past Balticon, “is perspective.”
Sitting in the audience, I couldn’t help agreeing. “Perspective” fits this year’s convention on many levels, both in terms of my professional path and in terms of the people walking that path with me. Cons always function as creative pressure cooker and reset point for me: a place to get fired up, but also to take a sober look around and ask, “Whither hence?”
So let’s look at the community first. At any con, there are always “I love you, man,” moments. This Balticon felt like those moments lasted for four days straight. This was one of the first cons I’ve been to where I could walk into a room and know more people than not. More than that: I could walk into a room and have more friends than acquaintances.
That’s growth. And I felt calmer and more confident than at any other con. Lauren “Scribe” Harris put it well, remarking that this crowd has become like family; we don’t need to be ON around each other all the time.
So, perspective: I am very, very lucky. I have always said this, but it’s good to be reminded of it. One of the strengths of the writing community is that it is a true community. We come from all different walks of life, all different parts of the world, we are all different ages. As such, we can teach and support each other in so many diverse ways. Sometimes – especially with social media, where mini-scandals erupt like bushfires – it’s easy to forget the fact that really, the broader community is driven and united by the same passion: for good stories, good writing, and dragons and starships and suchlike.
Seriously. I love you, guys.
The flip side of all the hugging and socializing is the cold, hard look at the professional path. 2013 was a lost year, but 2014 is almost half-over. Where am I going? What are my goals: short, medium, and long-term? How can I get there?
One simple thing for starters: I need to be producing more. Yes, yes, dayjob and schooling, we’ve all heard that before. When I put my mind to it, I can write a LOT. Like, a LOT. Part of the problem has been working harder, not smarter…I say yes to ALL THE THINGS, relying on youthful energy to bull through. That works, but then I’m too drained for MY projects.
It’s partly a matter of prioritizing, partly of allocating my energy better. And I do mean energy – I have the time, I’m just too exhausted to do anything with it. Thinking of this along the lines of an energy budget might help. As might…you know…actually getting sufficient sleep and iron.
Perspective: this was the sickest I’ve ever been after a con. Probably coincidence, but maybe also indicative of the fact that I was running on empty beforehand; I just didn’t have the reserves this time around.
The other perspective gained dovetails with some advice from Stonecoast. Here’s the thing: I write often and well. On a purely technical side, my prose is already pretty clean. That got me a head start, but relying on technique isn’t really enough. Diving into analogy, I could put out table beers that taste fine and ferment in 24 hours…but I want to put out really complex, aged porters. Lagers. Heck, let’s say some 16-year-old scotch. It’s remembering to focus on art as well.
But the only way to get there is to keep writing: well and often. Refine those techniques. Use that head start like a springboard. Depth will come with time – but only if I keep writing, learning, and growing.
Perspectives, man. Perspectives.
COOL THING OF THE WEEK
EAST O’ THE SUN AND WEST O’ THE MOON premiered last night. The kids have SO much to be proud of – they did a great job with a very challenging score and libretto (Norbert and I did not pull punches). Also, I truly do have amazing family and friends… :)
Just like the unfurling leaves and May 2-4 Weekend, Balticon is a sure sign that summer is coming. This is my favourite con: relatively accessible from Toronto, just the right size, heaps of wonderful people, and great programming. Between bringing the nice young man, some really cool panels, and the chance to see some dear friends, I’m SO EXCITED for this year.
Of course, because it’s a con, I totally haven’t packed yet and I’m awaiting the appearance of my usual outbreak of convention hives. Plus, I feel barely organized enough to get the nice young man and I safely on the plane, but hey—it always works out in the end.
Want to find me during the con?
Beyond Medieval History (panelist), 4:00 pm – 4:50 pm, Chase
Reading (with Veronica Giguere and Val Griswold-Ford SQUEE), 9:00 pm – 10:00 pm, Pimlico
The Fantasy Author’s Guide to Beer (presenting), 5:00 pm – 5:50 pm, Derby
Writing Real Children (panelist), 7:00 pm – 7:50 pm, Salon B
Skool Daze: Pursuing a Writing Career While Still in School (panelist), 11:00 am – 11:50 am. Parlour 1041
How Hard Can It Be? Jumping out of Genre (moderator), 1:00 pm -1:50 pm (Chase)
When I’m not doing panels, I’ll be roaming. You can probably find me hanging around the New Media/Literary side of things, or drooling over steampunk things in the dealers’ room (I’ve somehow acquired a tendency to accumulate stuff for the dayjob…). Come say hi, if you’re around—I wear a pounamu necklace and I am bespectacled.
I am so looking forward to this. Can’t wait to see everyone!
Cool Thing of the Week
Um. Balticon. ‘Nuff said.
For the past few months, I’ve been doing an experiment. See, after my return from Virginia, my friend Blythe came over…and she had something for me.
“I’ve been meaning to give you this for forever,” she said. “But I forgot, and then you were at Stonecoast, and then you were away…”
It was a journal. “It’s Gonna Be Okay: A journal to reassure myself when I’m overwhelmed by the creeping sense of impending disaster and the all-encompassing fears both specified and vague that colonize my mind, body, and soul, all of which, from the completely far-fetched to the sometimes probable, do me no good to contemplate and in fact make me miserable, and even though optimism may be unself-aware and ill-placed, I know I’ll be happier as a blind fool than as a clairvoyant apocalyptic.”
I immediately burst out laughing, becoming increasingly amused as I read the subtitle.
She knows me far too well.
The journal contains a reassuring quotation on the left-hand page, while the right hand side has space for the date, a section for writing, and a “prevailing outlook” for the day. As it happened, I’d just read Ray Bradbury’s Zen in the Art of Writing. As previously mentioned, I’d been struck by his habit of writing prose poems on whatever subject tickled his fancy and diving into his memories like a pearl fisher hunting oysters.
So I decided not to use this journal strictly for its intended purpose. I decided to use it for free-writing instead: unedited, rambling meditations. Okay, maybe there were a few times when I did free-write on something that was making me anxious, but for the most part, I turned to my past. I sought out those details that made me exclaim, “Oh! I haven’t thought of that in years!”
I set myself a few rules. Free-write every day. Fill the page. Tick the appropriate “prevailing outlook” box.
From February 28th to May 16th, I only missed one day. Over the past three months, I’ve stumbled across memories and details long buried, holding them up and examining them.
I had a rainbow-coloured basketball that I won in a Read-a-Thon when I was in grade two. I loved that thing. There was a shared driveway behind our house that I dubbed “the alley,” on which I bounced that basketball until its little bumps were worn smooth. I’d forgotten all about it, until now.
Something that I remember very vividly: three days after my dad died, I went to Black Creek. Not to work, just to escape. I remember when my mom dropped me off, I practically threw myself from the car before she’d even really come to a full stop. I remember that weird crouching run to the front doors, fighting to keep my balance.
Fiji’s reddish-brown dirt. The pixelated neon-green frog in a kindergarten computer game. The sense of unbridled freedom when we “went out for lunch” in grade six. The scent of pines that permeated the fort I made for myself (aged nine) in our garden.
These written meditations have unearthed a treasure trove of details. Maybe some of them will emerge in my fiction, maybe not.
But there’s been another benefit, too. I usually wrote in my journal over breakfast. First it became habit. Then it became necessary: a way to collect myself before facing the day ahead. It usually only took ten minutes to fill the page, but they were ten minutes of peace and stillness, ten minutes when my brain shut up and got out of its own way.
The other cool thing? I just flipped through the entire journal, looking at the “prevailing outlooks.”
They’re almost all positive. There are a few “fingers crossed” ones, but mostly, it’s thumbs-up or a-okay. The only thumbs-down I could find was also the only day I ticked two boxes. That day, I was a-okay in general, but also stressing about something very specific.
That means three months of feeling good. There is definitive proof that for three months, I’ve felt good about life almost every single day. Seeing it concretely like that…well, it’s an eye-opener. In a good way.
I’ve filled the journal now. I’ll keep free-writing anyway, in a new notebook. It’s become a game: what can I remember? What can I dredge up? How specific can I get, how far back can I go? It’s a chance to relive and revisit, to keep myself on track.
And to remind myself: it’s gonna be okay. ;)
Cool Thing of the Week
After prolonged despair that we were trapped in perpetual winter, the unfurling leaves became really noticeable this week. On my walk to the subway each morning, I go up a tree-lined street. The leaves are delicate and fuzzy still, but the street is suddenly green, not the barren, spiky brown it’s been for the last six months.
Give it a few more weeks. It’s only going to get better.
Last night was the first time I got to hear scenes from East o’ the Sun and West o’ the Moon performed by the kids.
“Uh, so I’m a really late addition,” I told the ticket-takers. “I hope I have tickets? Katie Bryski?”
One rifled through envelopes. “Who’s your chorister?”
“Oh, um, I don’t…” I awkwardly pointed to the giant sign a few metres away. “I wrote that.”
Thank goodness I made it out in the end. My synthesized score gives some idea of the music, but really, it has nothing on the human voice.
The piano thrummed the opening chords. I heard Norbert’s winds, the beautiful, aching yearning that characterizes this opera. I clutched my companion’s hand as the kids took their collective breaths, opened their mouths…
Those were my words. Those were my words, brought to life right in front of me. I’d been joking all evening about feeling like this:
Except it wasn’t just me. That’s the beautiful thing about writing for theatre. It’s never just you. We made this. My collaborator, Norbert Palej, is a stunningly talented composer. From a gorgeous wind motif, to witty (and biting) musical jokes, to incredibly complex duets and trios, I hear something new every time I listen to it.
And the kids. Man, those kids. They did it. They nailed it. Sure, this was only a few excerpts—but they got it. With accompaniment, with Norbert’s music, with the kids’ voices…it actually sounded like a real opera. Because somehow, it wasn’t real yet before. Not when I was tapping out meters on my desk while eating Jamaican patties. My own words hit me in a totally different way than they ever have before.
I haven’t even seen staging, set, or costumes yet, and each of those things represents another talent. Plus there’s the direction. Plus there’s the chamber orchestra.
So many different aspects, so many different people putting their work and creativity. Theatre is greater than the sum of its parts—its magic comes from this synthesis. And for me, experiencing my words brought to life—whether through a straight play, a podcast, an opera—is a high unlike any other. Even…and I almost hesitate to say this…even a book launch, or seeing my stories in anthologies or magazines isn’t the same.
Theatre lives. Theatre breathes. Theatre does different things than printed words, unlocks and punches a different part of my brain.
Yes, I write novels and short stories. Those will likely comprise the bulk of my writing. But as long as that magic remains in the theatre, I suspect that I shall always write for the stage in some way. There’s so much strength, potency, and love in collaboration; how could I not?
Now to prepare myself for that opening night energy. Just under three weeks until premiere.
Cool Thing of the Week
Obviously, this bear. This is one of 100 polar bears made by the CCOC. He is the polar bear from East o’ the Sun and West o’ the Moon, and he’s wearing a t-shirt with the CCOC logo.
And he sings music from the opera. The kids recorded a short segment that plays when you squeeze his paw.
Let me say that again.
This bear freaking sings words that I wrote!
This is one of the coolest things I have ever seen. I’m still in shock, actually.
Oh man, oh man, oh man…
The above quotation popped up in my feed this week. Usually, I don’t pay much attention to these sorts of quotes-and-images, but this one struck me. Maybe because I’m back at the dayjob.
As I’ve discussed many times, I steal places pretty shamelessly. From the dayjob, our Second House shows up in my story “After the Winds” as the heroine’s home; it reappears as the Braes’ house in the Victorian Dark Fantasy. Burwick House also shows up in both stories; the Doctor’s House is the main set piece in another. I fell in love with New Zealand, too. Its impossibly green hills roll through the “text-based interactive online game.” If you look closely, you can spot its caves and long white clouds in one of my Stonecoast workshop submissions.
Call it the historian in me, but I like this notion of things we love living on in stories. In fact, I’m writing a story on similar lines: an alternate Toronto, one which contains everything in this city that was lost, destroyed, or covered up and buried.
It all lives on.
Writers are like sponges that way. We absorb everything around us, often not even aware that we’re doing so, and even we don’t know when, where, or how things will rematerialize. It’s like catching partial reflections from shards of mirror. All of these memories and experiences get broken up and glued back together: rearranged, reimagined, and reversed.
Ray Bradbury wrote about this much more poignantly than I can. If you haven’t read Zen in the Art of Writing, go find it. Even if you’re not a writer, his insights can be applied to most creative processes.
In one of the essays, he asks, “What do you want more than anything else in the world? What do you love, or what do you hate…there is zest in hate as well as in love, [and it will] fire the landscape and raise the temperature of your typewriter thirty degrees.”
So what do I love?
Well, specifically looking at how much Black Creek pops up in the Victorian Dark Fantasy…I love the way the sun sheens off the barn roof on crisp autumn mornings. I love the fallen leaves crunching under my boots, the sharp smell of smoke when the fires get lit. I love the steam that curls along the brewery’s ceiling when we cool the wort. I love the way the loaf pans are all dented along one edge, because that is where the peel jams into them as we remove them from the bake-oven. I love the bleached-bone paleness of the bricks inside the bake ovens.
There is joy in these small details, the little things which, as Bradbury says, “…at one time when we were children, were invested with magic for us.” It’s this notion of “looking and re-looking.” What makes this inn, this farmhouse, this hearth different from all the others?
As writers, it’s our job to find out and explain. If we’re writers in love, then part of us already knows.
Cool Thing of the Week!
At last, I have obtained my own teapot and kerosene lamps. My church does an attic sale every May, which means that every April, I volunteer to haul the goods up from the basement. I salivated over the lamps the moment I saw them two weeks ago, so I was very disappointed when I arrived at the sale and couldn’t find them anywhere…but then, one of the sales volunteers exclaimed, “Oh! You’re the girl! We have your lamps!”
My lovely church ladies had stashed them safely away for me, to prevent anyone else from making off with them. My ladies are awesome.