Monthly Archives: April 2014
Edits for the Victorian Dark Fantasy continue apace. After weeks of poking at it every so often, it’s like the pressure in my head has built up to that point where I no longer have any say in the matter. All good books are like that, I find. You hit the point where writing it stops being a choice—you have to.
Which is a good thing. A very good thing. There are some pretty deep edits here; nothing that actually changes the story that much, just reordering of scenes and characters that are a little tricky to effect. This isn’t editing with a chain-saw; it’s performing delicate surgery.
One of the major changes? Swapping one of the POV characters. The Victorian Dark Fantasy is written from three first-person point-of-views: our heroine, the villain, and our heroine’s husband. Only then I realized that the husband’s sister actually has more at stake and a more interesting/pronounced character arc…from a craft and structural perspective, it made more sense to have her narrate.
Here’s the thing, though: it’s not as easy as going through the husband’s scenes and switching pronouns. (She looked at me quizzically > I looked at him quizzically) We’re literally seeing the scene through a new pair of eyes, which means that every single detail gets interpreted differently.
Voice changes substantially. It should, anyway. You, me, Bob down the street, we all have different takes on the world and a unique ways of expressing ourselves. Charlotte’s more tightly-wound than her brother. Throw in some high-stress situations, and she becomes downright prickly. Which tends to manifest in a harsher, more sardonic tone than we previously had in those sections.
It’s kind of like dialect and accent. There’s an external stimulus; how does your character take it in, make sense of it, and then express it back to the world?
Thoughts Hidden, Thoughts Revealed
Unlike in omniscient POV, where you can dip into multiple characters’ heads in a single scene, first-person and third-person limited narrators can only relate their own thoughts. This is hugely fun. Maybe I’m just a jerk, but I sometimes enjoy using POV limitations as almost a sleight-of-hand. Sort of a she-doesn’t-know-he-knows-she-knows thing.
Yeah, I’m a jerk.
But the point is, I’ve had to edit out the husband’s thoughts and replace them with external action. Same thing with Charlotte.
It’s probably easier to show you. Here is the original, from Ned’s POV:
Charlotte cocked her head. “What are you thinking?”
I meant to tell her about the whisperings I’d heard, but instead I blurted, “I miss Sara.”
Charlotte gave me a sad smile, gazing down on me much the way she had in our nursery days. “I know. I miss Findley.”
Despite myself, I felt like a child once more. “I wish I could write her a letter, let her know when I’ll come home. Too much longer without any news and she’ll start fretting.”
“So will the Braes. They think I’m sick, remember?” Charlotte rose to check the fire. She tossed more wood on it, adjusted the crane so that the kettle hung over the hottest part. “Sometimes,” she continued, her back to me, “I can’t tell if it’s a good thing that Findley won’t worry.”
And the edit:
He fell silent, gazing across the cramped space towards the smouldering hearth. Subdued, unusual for him. I cocked my head. “What are you thinking?”
It took him a moment to answer, conflict playing over his face. Then, he blurted, “I miss Sara.”
My heart broke a little. “I know,” I said quietly. “Less than a week, and I already miss Findley.”
“I wish I could write her a letter, let her know when I’ll come home. Too much longer without any news and she’ll start fretting.”
“So will the Braes. They think I’m sick, remember?” Needing to do something with my hands, I rose to check the fire. I tossed more wood on it, adjusted the crane so that the kettle hung over the hottest part. “Sometimes,” I continued, murmuring more to the fire than to him, “I can’t tell if it’s a good thing that Findley won’t worry.”
Same scene, same dialogue, same actions, two POVs. In the second round, we see Charlotte’s thought process in asking after Ned. We see Ned conflicted over something, but because we’re not in his head, we don’t know what (which might be a problem later on…did I mention that I’m a jerk?). Likewise, in the first version, Charlotte goes to check the fire. When she’s narrator, we see the reason why.
Which leads me into…
Every Action Originates From an Intention or Trigger
I was pretty proud of this little epiphany. Seriously, learning that actors attach a verb to every bit of dialogue has helped my writing more than I ever thought possible. What does it mean, though?
Basically, with every action you take or word you utter, you’re trying to accomplish a goal. Think about it. We’re having a really intense discussion, you get up to open a window.
Why? Maybe you’re feeling so uncomfortable, you need physical space from me. Maybe this discomfort is also having a physiological effect. Your face feels flushed, so you’re trying to cool down, as well. Both of each relate to the goal/verb: self-soothe—I want to make myself feel better.
You’re at a party. Someone you like is also there. Maybe you stare down at your beverage—I want to avoid embarrassing myself. Or maybe you strike up a conversation with someone nearby, making sure everyone nearby can hear how charming you are—I want to impress him/her.
When the scene is not in a character’s POV, we only see the external action. When the scene is from their perspective, we see the internal trigger/thought process as well.
Rewriting these scenes has been almost like playing with audio. Some parts of Ned’s track get muted; Charlotte has no way of “hearing” them. Conversely, some of Charlotte’s levels get brought way up; if we’re in her head, they have to be prominent.
There is a strong temptation to not do this. After all, the scene has played out already; Charlotte and Ned have made their choices as to what they’re doing and saying.
Except I’m the author, I have the red pen, and sometimes for the sake of the story, you have to “re-dream the dream.”
Restart. Let the scene play out again. Let it go differently.
First scene: Ned’s checking out the mysterious curtain that divides the worlds, Charlotte’s keeping him safe. Which was cool when it was his POV. But tell me, which is more interesting—a mysterious curtain, or making sure your sibling’s still breathing?
Yeah. I thought so. In the edits, Charlotte got the interesting action (because POV character), which necessitated some dialogue switching. A little rephrasing to match each character’s voice, but really, no big deal.
This is actually really fun. I’ve loved getting to know this character better. And I’ve loved writing some new solo scenes for her. So much more interesting than swapping pronouns!
ALSO: Cool thing of the week!
Remember how I fell in love with The Star of the County Down? I found this image of the song’s heroine. If anyone ever turned this book into an animated Disney film, this would be Mairi.
You may notice this site looks different.
Oh man, this overhaul was so incredibly overdue. I’d not been happy with this blog for…well, too long. The tipping point came when I looked at the banner on Tee’s site and realized, “Wait a second – I know how to do that now. I could do that!” The roomies and I attacked our house pretty good for spring cleaning, so why not go after my online home the same way?
Besides, I figured it was about time to think about the future, and this site was looking a little antiquated. You guys, I’ve been blogging here since I was twenty. I’m 23 in a few months. Also, while I tend to start adding a year onto my actual age about three months before my birthday, this year has been worse – in my head, for reasons unknown, I’m suddenly 24. Because I’m crotchety like that. I know that if I say, “I’m getting old,” I will be smacked six ways from Sunday…but time is passing. I’m getting older (happy?).
So I sat down and had a good think. And also, some ginger slice. What directions am I moving in now? What are my plans for the rest of 2014? What do I want to write?
I keep coming back to the Victorian Dark Fantasy. Ye gods, I had SO MUCH FUN writing that. I’m having SO MUCH FUN editing it. And then, there are vague stirrings of another Victorian-ish world rumbling ’round the back of my head; something set in Magical 1870s Toronto. And then, there’s the steampunk….
So I think we can safely say that Victorian-flavoured fantasy is a persistent preoccupation for me. Bearing that in mind, I started looking for cool fonts (Tales from the Archives has its own font; I wanted one, too!).
Looking through them all…I imagine it was very much like when normal people go dress-shopping. I got to try on all sorts of different ones, searching for the one that felt right, the one that said…me. Or KT Bryski. Either way.
I liked this one. See, isn’t it cool? Also, while it’s wayyyyy too early to make anything like these…I made these. The Victorian Dark Fantasy makes me too excited.
Even though 2013 was a lost year in my books, I still did some things, and those also needed to be recognized. I have a handy Fiction page now, which I’ve updated to include things besides Hapax. I’ve sold three short stories! And…erm, I’ve only ever written three short stories…
Which means that more short fiction is on the books (heh) for 2014 as well. The more I do it, the more I like it, and I’d like to have more than three in my repertoire. Doesn’t matter if my streak continues (and it won’t – my supply of horseshoes is going to run out eventually), I’d just like the experience of having written them.
Plus, over the past two years, I’ve started doing other stuff. It’s important, I think, for us to remember the things that don’t fit in the usual box we assign ourselves. I write a beer blog. I do freelance editing (for reasonable rates!). Apparently, I write opera libretti and games. Yeah, I was a wee bit surprised by that, too. One of my big fears of leaping into writing so early was that I’d have one story in me – flash in the pan, young author, didn’t live up to her potential.
Who knows? But right now, I feel stable and supported, and I’m raring to go. The last of the winter detritus has been swept away, and this weekend is kind of about rebirth anyway, right?
Let us spring forth!
Creating things takes a lot out of you: mentally, emotionally, and physically. This is why you often hear creative-types talking about the need to recharge creatively, to surround one’s self with things that keeps the muse purring and the creative furnaces hot. There usually follows images of the creative-type serenely contemplating a field of wildflowers, or perhaps meandering serenely through an empty art gallery…
Well, I found something that keeps my creative well consistently full, something that energizes me and makes me want to WRITE ALL THE THINGS.
Spoiler: it’s not wildflowers.
I’ve become a fan of Celtic Woman. And also a fan of the High Kings, which are basically the male equivalent of Celtic Woman. It’s been this way pretty much since last summer, when I started work on the Victorian Dark Fantasy. I don’t know what the kids are dancing to in the clubs these days, but you better believe that I can belt out Rocky Road to Dublin from memory, in the correct 9/8 slip reel time.
It’s not something that I can really explain. Sure, I’ve always been a fan of traditional music, but these aren’t necessarily super-traditional. The translation for Celtic Woman’s version of Mo Ghile Mear is…um, well, you can take a look for yourself:
Can you feel the river run?
Waves are dancing to the sun,
Take the tide and face the sea,
And find a way to follow me.
Leave the field and leave the fire
And find the flame of your desire.
Set your heart on this far shore,
And sing your dream to me once more
Vs. the actual words:
Once I was a gentle maiden,
But now I’m a spent, worn-out widow,
My consort strongly plowing the waves,
Over the hills and far away.
Every day I’m constantly enduring grief,
Weeping bitterly and shedding tears,
Because my lively lad has left me
And no news is told of him – alas.
But you know what? I don’t care. There’s something in the drums, the harmonies of their arrangement that ignites that creative spark. Normally, I tend towards classical music, choral things, and musical theatre. But for whatever reason, this music punches some part of my brain and makes words want to happen.
I like ’em.
I worked my way through most of their music while writing the Victorian Dark Fantasy…and now, I’ve got it back on repeat. Plus, their newer members come from musical theatre backgrounds. It shows, and these more theatrical performances are making ideas echo, even if I can’t articulate them just yet:
So yeah. My musical tastes have always been eclectic (I’ve also fallen in love with Pergolesi’s Stabat Mater, but that probably won’t end up in a novel for a while), but this is perhaps a bit odd even for me.
As for the High Kings…well, again, they’re basically the male version. It’s more stand-and-sing, but their songs do that same punching-through-to-some-flash-of-idea thing. I think this is one of Mairi’s theme songs:
Although she is not at all a fan of this one, which is hugely interesting. Especially because I start dancing in my seat from the opening chords:
And of course, this song, which is actually Mairi’s theme song:
The things that stoke our creative fires aren’t always the things we expect. That’s ok, though. It opens us to things we might never otherwise find. Besides, this music makes me happy. Then I want to write, which also makes me happy.
And man… those 9/8 slip reels are catchy!
PS. Yes, I totally wrote this post while listening to Téir Abhaile Riú on repeat…