Monday, March 2, 2009
Monday, July 21, 2008
Seaborn in the wild contest
Okay, it's officially open. Seaborn will be showing up on store shelves sometime this week, and I'm giving away a few things to those who send me pictures of the book on a store shelf.
1. The first person to send me a picture of Seaborn in a store wins a 13 x 18 inch print of my watercolor, Syren Tears, or the digital scene painting, Sea Dragon, which is from Sea Throne, the sequel to Seaborn. Email me a pic and you choose which one you want me to send you.
Click the images for the large view:
Syren Tears (watercolor, 13x18 in. print) Sea Dragon (digital, 13x19 in. print)
2. The second person to send a pic wins the painting not selected above.
3, 4, and 5 pics of Seaborn in the wild, and you get smaller but equally cool art print.
.
Sunday, June 8, 2008
Adulation, Fantasy, Creative Procrastination
Ever had the feeling that something has passed you by? Or ever jumped on a bandwagon when it's a bit too late? Well there I was, working away on The Constant Tower when I decided to go youtubing. I spend waaay too much time on youtube sometimes. I'll admit first that I have always loved fantasy. Deep fantasy, painful fantasy where you feel the deepest part of your heart is being yanked out for some great and noble good. The soul pain in fantasy, the psychological pleasure of seeing beautiful noble people doing beautiful noble things, the sexual and warlike passion! Ah the joys of fantasy!
So when I happened upon some wonderful soul-feeding Final Fantasy videos --Wow!!! A forum/clique/enclave of creative folks who looooooove Final Fantasy capture videos from Final Fantasy games and use popular musical tracks to do a kinda theme and variation kinda thing. Often, they use the same songs..but wow, the subtle differences! So, okay, I was never into Final Fantasy but after watching sooo many of these videos yesterday I am a total fan. I wish I could get into playing video games and creting videos like these.
But, of course, I got to thinking. It's such a fine line for me to walk. I think I've mentioned somewhere else that I love beauty --especially male beauty. I could just stop and stare at beautiful men all day. Very close to loving the Creature more than the Creator, very close to falling into the sin of adulation and idolatry. So on the one hand the beauty, the heartfelt passion, the utter lack of restraint of the creator of these videos and the creator of these games....were just totally awe-inspiring and helpful in my losing my soul and restraints in my present WIP, The Constant Tower. For lack of a better word, I love the naked emotions of these videos. Heck, I love naked emotions period. Especially the painful emotions found in fantasy literature. But on the other hand, dangnabit, I am now in love with a couple pixellated character. There is a joy and a passion that touches the soul and can also taint the soul. And there is a joy and a passion that touches the spirit. I always try to get both soul and spirit in my stories. By which I mean, I want to talk about human pain, grief, longing, etc...but I also waht to talk about the human relationship to God. I would hate to write a purely soullish book. May God help me with this new book as He did with the other.
Anyway, for your enjoyment, here are some of my favorites. They're favorites mostly because they were done so well and because the tracks over the videos are some of my favorite songs and performers. (Don't waste too much of your time as I did, though.)
Final Fantasy The Way of Love Cher
Final Fantasy Don't cry Guns and Roses
Evanescence - Bring me to life
Final Fantasy The Way Clay Aiken
Final Fantasy Invisible Clay Aiken
Truly madly deeply
Truly Madly Deeply another creator
So when I happened upon some wonderful soul-feeding Final Fantasy videos --Wow!!! A forum/clique/enclave of creative folks who looooooove Final Fantasy capture videos from Final Fantasy games and use popular musical tracks to do a kinda theme and variation kinda thing. Often, they use the same songs..but wow, the subtle differences! So, okay, I was never into Final Fantasy but after watching sooo many of these videos yesterday I am a total fan. I wish I could get into playing video games and creting videos like these.
But, of course, I got to thinking. It's such a fine line for me to walk. I think I've mentioned somewhere else that I love beauty --especially male beauty. I could just stop and stare at beautiful men all day. Very close to loving the Creature more than the Creator, very close to falling into the sin of adulation and idolatry. So on the one hand the beauty, the heartfelt passion, the utter lack of restraint of the creator of these videos and the creator of these games....were just totally awe-inspiring and helpful in my losing my soul and restraints in my present WIP, The Constant Tower. For lack of a better word, I love the naked emotions of these videos. Heck, I love naked emotions period. Especially the painful emotions found in fantasy literature. But on the other hand, dangnabit, I am now in love with a couple pixellated character. There is a joy and a passion that touches the soul and can also taint the soul. And there is a joy and a passion that touches the spirit. I always try to get both soul and spirit in my stories. By which I mean, I want to talk about human pain, grief, longing, etc...but I also waht to talk about the human relationship to God. I would hate to write a purely soullish book. May God help me with this new book as He did with the other.
Anyway, for your enjoyment, here are some of my favorites. They're favorites mostly because they were done so well and because the tracks over the videos are some of my favorite songs and performers. (Don't waste too much of your time as I did, though.)
Final Fantasy The Way of Love Cher
Final Fantasy Don't cry Guns and Roses
Evanescence - Bring me to life
Final Fantasy The Way Clay Aiken
Final Fantasy Invisible Clay Aiken
Truly madly deeply
Truly Madly Deeply another creator
Sunday, May 18, 2008
See, I get to take credit for that
"See, I get to take credit for that."
That's one of my favorite author quotes.
In order for you to understand it, I guess I should tell you about the circumstances in which Edward Albee came to say it.
He was being interviewed by someone about one of his plays. The interviewer said, "Oh I love the way you brought in this myth and this religious allusion and this societal issue."
Sorry, I don't remember the specifics but you know what I mean. There are times when you write a book or a story and reviewers find such lovely things in it...things you had never consciously put into it. When I wrote Wind Follower I was aware of a few of the myths, social history, historical and political events I was addressing. But when the reviewers and critical text analysts got to it, wow!!!!! They saw such glories in my book.
Well, I suppose when notified of all the wonderful subtexts happening in my novel I remembered Edward Albee's words and said, "Actually, I wasn't even aware that that was in there, and I had no conscious plan to put it in the book. Thanks. I get to take credit for that."
I don't know about other folks but I was a lit major. I like analyzing stories in the larger context and I like being analyzed. Makes me feel valid. Some of my stories are thin, mind you and they have no resonance. But it's so wonderful when a story has all these layers and readers can see such interesting cultural, religious, and social issues in them.
Most writers tend to be pleased to see that their stories are rich enough to carry so many subtexts. When a reader finds stuff in a story that the writer didn't consciously put into the story, it shows the writer is A) listening to the universal unconscious B) allowing true creativity to flow through him and through his own experience of life C) taking part in the great creative communal conversation of his time, D) well-read and E) downright deep.
It is that odd writer who says, "no, my work is not that rich. My work doesn't connect to these primal, or cultural, or social issues. My work only goes to this area and I refuse to see in it what I myself did not put into it."
Who wants to write stories that don't resonate? Who wants to write stories that echo only what one consciously puts into them? What is the glory of a story that is utterly man-made and lacking the true spirit of the universal subconscious?
-C
That's one of my favorite author quotes.
In order for you to understand it, I guess I should tell you about the circumstances in which Edward Albee came to say it.
He was being interviewed by someone about one of his plays. The interviewer said, "Oh I love the way you brought in this myth and this religious allusion and this societal issue."
Sorry, I don't remember the specifics but you know what I mean. There are times when you write a book or a story and reviewers find such lovely things in it...things you had never consciously put into it. When I wrote Wind Follower I was aware of a few of the myths, social history, historical and political events I was addressing. But when the reviewers and critical text analysts got to it, wow!!!!! They saw such glories in my book.
Well, I suppose when notified of all the wonderful subtexts happening in my novel I remembered Edward Albee's words and said, "Actually, I wasn't even aware that that was in there, and I had no conscious plan to put it in the book. Thanks. I get to take credit for that."
I don't know about other folks but I was a lit major. I like analyzing stories in the larger context and I like being analyzed. Makes me feel valid. Some of my stories are thin, mind you and they have no resonance. But it's so wonderful when a story has all these layers and readers can see such interesting cultural, religious, and social issues in them.
Most writers tend to be pleased to see that their stories are rich enough to carry so many subtexts. When a reader finds stuff in a story that the writer didn't consciously put into the story, it shows the writer is A) listening to the universal unconscious B) allowing true creativity to flow through him and through his own experience of life C) taking part in the great creative communal conversation of his time, D) well-read and E) downright deep.
It is that odd writer who says, "no, my work is not that rich. My work doesn't connect to these primal, or cultural, or social issues. My work only goes to this area and I refuse to see in it what I myself did not put into it."
Who wants to write stories that don't resonate? Who wants to write stories that echo only what one consciously puts into them? What is the glory of a story that is utterly man-made and lacking the true spirit of the universal subconscious?
-C
Wednesday, May 14, 2008
The Thing About Living at The Beach
The thing about living at the beach is that you have to actually LIVE at the beach. You have to go through the everyday-ness of life, while you're living 2 blocks from the beach.
I still have to get up and sit down at my desk and write my pages. I still have to go to work. I still have to cook dinner and wash laundry and scrub bathrooms and pull weeds (though the weeds are winning in the back-yard rose bed...) (And since it's really humid and takes everything a long time to dry out, the bathrooms have to be scrubbed a lot because that black stuff grows everywhere constantly--ugh!)
But the thing is--today (and Monday) I got to sit down at my desk after going out to walk along the beach. Not just along the beach, but actually in the water. I get to look at the birds (I really, really need to remember to look up those kildeer-like plover things) and the rocks and the shells and the sky. The wind blows my hair every which way, and the salt makes it stick like that. And I'm at The Beach.
No, I can't spend all day hanging out there, floating in the waves or digging in the sand--I could, I suppose, if I wanted to. Some Saturday could be available. But it's probably a good thing that I don't really have all day, because every time I spent all day at the beach in the past, I got sunburned. Badly, if it was pre-sunscreen days. Even these days, I'd get sunburned, even with the sunscreen, because I'm that susceptible to the sun. So, yeah. An hour or two, when the sun's on it's way down, or up--that's probably best. And then I can go home and clean up and eat sand-free supper.
I simply need to remember not to take it for granted. Remember to spend time there, walking on the sand or in the water, biking down the Seawall, floating on the waves.It's my happy place, in this town. My place to commune with nature and God and to just...be. Where's yours?
I still have to get up and sit down at my desk and write my pages. I still have to go to work. I still have to cook dinner and wash laundry and scrub bathrooms and pull weeds (though the weeds are winning in the back-yard rose bed...) (And since it's really humid and takes everything a long time to dry out, the bathrooms have to be scrubbed a lot because that black stuff grows everywhere constantly--ugh!)
But the thing is--today (and Monday) I got to sit down at my desk after going out to walk along the beach. Not just along the beach, but actually in the water. I get to look at the birds (I really, really need to remember to look up those kildeer-like plover things) and the rocks and the shells and the sky. The wind blows my hair every which way, and the salt makes it stick like that. And I'm at The Beach.
No, I can't spend all day hanging out there, floating in the waves or digging in the sand--I could, I suppose, if I wanted to. Some Saturday could be available. But it's probably a good thing that I don't really have all day, because every time I spent all day at the beach in the past, I got sunburned. Badly, if it was pre-sunscreen days. Even these days, I'd get sunburned, even with the sunscreen, because I'm that susceptible to the sun. So, yeah. An hour or two, when the sun's on it's way down, or up--that's probably best. And then I can go home and clean up and eat sand-free supper.
I simply need to remember not to take it for granted. Remember to spend time there, walking on the sand or in the water, biking down the Seawall, floating on the waves.It's my happy place, in this town. My place to commune with nature and God and to just...be. Where's yours?
Saturday, April 26, 2008
Character artists
X-posted from http://theophrast.us
How many of the characters in the stories you write are artists? Any kind of art. What do they do? How deep do you get into it as part of the story? Do you find—or think it's the case—that visual arts would be more difficult to portray in writing—or is it pretty much the same? Unless your character's a writer or poet—in which case, you can simply include some of their work to pull it off—or you're writing a graphic novel, it's tough to get the art across to the reader.
I have three different artsy characters in Seaborn. One who paints and draws, one who dances, one who's a composition major at a music college. I'd guess these abilities or interests help define a character. A dancer would certainly be athletic, someone who plays music, paints or draws might be thoughtful.
.
Wednesday, April 23, 2008
Book Publishing Timeline
Or, What happens between the acceptance of your manuscript and the launch of your book from someone who barely knows what he’s talking about.
What does happen to your manuscript after the publisher accepts it? I've always been curious.
What follows is my documented ordering of the events, editing, extra work, writing, pitching, and other stuff an author has to do before one precious copy of the book hits the shelves in a bookstore.
Anyone writing for years and breaking into the published market, reading the blogs of authors, agents, editors, will have heard all the terms and processes, things like copyediting and ARCs (Advanced Reading Copies--books printed ahead of the release date specifically for book reviewers, sometimes handed out by the thousands at conventions like Book Expo America).
But I've never understood the order of the activities clearly. When a writer says his book's "gone into copyediting," where exactly is that in the process? How far along the road to release is it?
What I've done--and I'd love some feedback from those who know a lot more than I do--is mark the road with all the various things I've had to do, attend to, understand, agree to, and receive in order to get to that glorious release day...July 20, 2008. (Obviously some of the stuff in the timeline has not yet happened, so I'm guessing with the dates there).
Click the image below to view the readable version.
Here's what the process looks like from my perspective:
Tuesday, April 22, 2008
Wiscon
It's that time again. Wiscon. THE feminist speculative fiction convention.
Several Juno folks will be attending.
Sylvia Kelso, author of Amberlight, will be there.
As will Chris Howard, author of the forthcoming Seaborn. Yeah, a novel about sea sirens. I really want to get this.
As will Lori Devoti another Juno author.
If you're there, look them up. Hopefully, they'll give us a detailed report of their time there.
-C
Several Juno folks will be attending.
Sylvia Kelso, author of Amberlight, will be there.
As will Chris Howard, author of the forthcoming Seaborn. Yeah, a novel about sea sirens. I really want to get this.
As will Lori Devoti another Juno author.
If you're there, look them up. Hopefully, they'll give us a detailed report of their time there.
-C
Monday, April 21, 2008
Shapeshifting anyone
Juno Author Lori Devoti has made a great post on Shapeshifting Romance about the definition of shapeshifting. Check it out.
Orphaned copyrights -- so-called
Call me paranoid and suspicious but this bit of legislation makes me raise my eyebrows. Will corporations be able to keep an orphaned "document" after they have done a "reasonable search" and been "unable" to find the creator of the work? Contact your senators and representatives.
http://www.copyright.gov/orphan/
http://www.copyright.gov/orphan/
Saturday, April 19, 2008
strange author benefits
One of the flakiest side-effects I've encountered since becoming a published author is the many many emails I receive from kids who pretty much want me to help them with their homework.
The email generally goes like this: "Dear Ms McDonnell, please I really need help. I have an assignment on writers (or an assignment on career day) due tomorrow and I need to do research on what it's like to do your job. Please, please, please, help."
There are also a few who mention that they have read Wind Follwer and were asked to analyze or review it. And could I please, please, possibly, tell them what my book's theme was all about?
Now, what do I, a former teaching assistant at a high school, think of all this?
I'll just say that I pretty much behave like a typical mom who sits down at her computer to writer her kid's term paper because heck, the thing is due today. (Okay, okay, once I wrote a paper so well that my son's college teacher suspected he had not written it and failed him for the class. I learned to write less writerly after that,) I simply can't help it...I'm a sucker for kids who bring in their homework late. Heck, I do a little procrastination myself. The only time I DO find myself getting a little annoyed is when the student is a graduate or undergraduate. I suspect because I'm thinking that by that time they should be able to think a little clearer about stuff and to at least attempt to analyze the book themselves. But even then I give them my help. I can only hope they really appreciate it.
The email generally goes like this: "Dear Ms McDonnell, please I really need help. I have an assignment on writers (or an assignment on career day) due tomorrow and I need to do research on what it's like to do your job. Please, please, please, help."
There are also a few who mention that they have read Wind Follwer and were asked to analyze or review it. And could I please, please, possibly, tell them what my book's theme was all about?
Now, what do I, a former teaching assistant at a high school, think of all this?
I'll just say that I pretty much behave like a typical mom who sits down at her computer to writer her kid's term paper because heck, the thing is due today. (Okay, okay, once I wrote a paper so well that my son's college teacher suspected he had not written it and failed him for the class. I learned to write less writerly after that,) I simply can't help it...I'm a sucker for kids who bring in their homework late. Heck, I do a little procrastination myself. The only time I DO find myself getting a little annoyed is when the student is a graduate or undergraduate. I suspect because I'm thinking that by that time they should be able to think a little clearer about stuff and to at least attempt to analyze the book themselves. But even then I give them my help. I can only hope they really appreciate it.
Monday, April 14, 2008
Sunday, April 13, 2008
RIF needs your help
Reading Is Fundamental, Inc. (RIF), founded in 1966, motivates children to read by working with them, their parents, and community members to make reading a fun and beneficial part of everyday life. RIF's highest priority is reaching underserved children from birth to age 8. Through community volunteers in every state and U.S. territory, RIF provides 4.6 million children with 16 million new, free books and literacy resources each year. For more information, and to access reading resources, visit RIF's website at www.RIF.org
From Carol H. Rasco, president and CEO, of Reading Is Fundamental (RIF):
"President Bush’s proposed budget calling for the elimination of Reading Is Fundamental’s (RIF) Inexpensive Book Distribution program would be devastating to the 4.6 million children and their families who receive free books and reading encouragement from RIF programs at nearly 20,000 locations throughout the U.S."
“Unless Congress reinstates $26 million in funding for this program, RIF will not be able to distribute 16 million books annually to the nation’s youngest and most at-risk children. RIF programs in schools, childcare centers, migrant programs, military bases, and other locations serve children from low-income families, children with disabilities, foster and homeless children, and children without access to libraries."
To find out how you can help, visit http://www.rif.org/get-involved/advocate/what/
Check out RIF’s third annual Program Excellence Honors .
From Carol H. Rasco, president and CEO, of Reading Is Fundamental (RIF):
"President Bush’s proposed budget calling for the elimination of Reading Is Fundamental’s (RIF) Inexpensive Book Distribution program would be devastating to the 4.6 million children and their families who receive free books and reading encouragement from RIF programs at nearly 20,000 locations throughout the U.S."
“Unless Congress reinstates $26 million in funding for this program, RIF will not be able to distribute 16 million books annually to the nation’s youngest and most at-risk children. RIF programs in schools, childcare centers, migrant programs, military bases, and other locations serve children from low-income families, children with disabilities, foster and homeless children, and children without access to libraries."
To find out how you can help, visit http://www.rif.org/get-involved/advocate/what/
Check out RIF’s third annual Program Excellence Honors .
Saturday, April 12, 2008
Over at the juno blog
There's a great definition of urban fantasy. It's over at the Juno Books blog and it's great.
Monday, April 7, 2008
Wars, small, great, undeclared, and recurrent
Yesterday I stayed in bed all day and watched movies. I saw two movies I hadn't seen before. One was called Tomorrow (by writer Faulkner by way of director Horton Foote and actor Duvall) and the other was called Constantine with my lifelong crush Keanu Reeves. (In fact I have had such a jones for Keanu for such a long time that in Wind Follower I actually named my character Kaynu after him.)
Anyways, Constantine --despite Keanu's gorgeous self-- just had me rolling my eyes. Hey, I'm okay with folks fooling around with Christian theology but what a mish-mash it all was! I mean...he had to look into the eyes of a black cat in order to enter hell. What's that about?
"Tomorrow" on the other hand touched me -- although I think the actual Faulkner story would have touched me more. I can't help it. I'm a Black Jamaican but I have always had this fascination with poor white folks in Appalachia. Supposedly --at least this is what I pick up from the media-- these salt of the earth types would be the first to lynch me. I can watch movies about city sophisticates having all kinds of angst but the stories that really touch me are those about poor, country people, whatever culture they're from: China, poor white, Africa, Latin America, African-American.
So there I was watching it and reminding myself that I haven't seen The Apostle in a while when it suddenly dawned on me that all my stories are about wars. Wars, small, great, undeclared, and recurrent. In Wind Follower, my main characters thought the human war was over and they figured that as long as they avoided the spiritual war, the spirits would ignore them. In Constant Tower, there's a war of a different kind going on. And in Inheritance, wars also abound.
Of course all stories are about conflicts...and conflicts are another word for war. War against the self, war against nature, etc. Each author has her own opinion about what wars abound in this life. Romance writers concern themselves with the emotional wars at home and the wars between the sexes. Sometimes status and race are thrown in but for the most part, the characters in a romance story are dealing with their home culture and emotional inheritances and how their cultural inheritances conflict -- war with-- that of the one they have come to love. Other writers, on the other hand, deal with more political and social wars. And Christian fiction writers often deal with spiritual wars: the conflict between the self, the soul, and the spirit....and how that inner conflict is compounded when it encounters the world, the flesh, and the devil.
I totally believe that a great romance is the best kind of story possible. Why? Because it concerns itself with love --which is eternal and which changes the soul-- and with the creation of a new family/community while retaining the best of one's self and one's community. In Romances, relationships are ultra-important.
Now all this is tough for me to balance in a fantasy story which aims for action from the get-go. I, unfortunately, am fascinated by normal life --the normal life of the world we know, and the normal life of the fantasy world an author has created-- and what makes normal life tick. This means that even when I create a fantastical world, if I'm not careful I'll find myself wandering leisurely among the poor folk of that culture, ambling along the country lanes...and not pushing the plot along. Romance writers and Christian fiction writers are used to this kind of slice-of-life stuff. They are used to slow country rambles with subtle small conflicts and stressors. Most fantasy lovers, on the other hand, are more into Constantine-type stories. They want a lot more action upfront...like 30 pages of mucho drama, death, external warring. So I'm trying my best to get into that groove. What to do?
Work at figuring out how to work with cross-genres, maybe. Thank God I'm still growing as an author. I hope that whatever path my stories take -- the gentle ramble or the page-turning adventure-- that my fans will walk lovingly and patiently with me. Thank you all.
Anyways, Constantine --despite Keanu's gorgeous self-- just had me rolling my eyes. Hey, I'm okay with folks fooling around with Christian theology but what a mish-mash it all was! I mean...he had to look into the eyes of a black cat in order to enter hell. What's that about?
"Tomorrow" on the other hand touched me -- although I think the actual Faulkner story would have touched me more. I can't help it. I'm a Black Jamaican but I have always had this fascination with poor white folks in Appalachia. Supposedly --at least this is what I pick up from the media-- these salt of the earth types would be the first to lynch me. I can watch movies about city sophisticates having all kinds of angst but the stories that really touch me are those about poor, country people, whatever culture they're from: China, poor white, Africa, Latin America, African-American.
So there I was watching it and reminding myself that I haven't seen The Apostle in a while when it suddenly dawned on me that all my stories are about wars. Wars, small, great, undeclared, and recurrent. In Wind Follower, my main characters thought the human war was over and they figured that as long as they avoided the spiritual war, the spirits would ignore them. In Constant Tower, there's a war of a different kind going on. And in Inheritance, wars also abound.
Of course all stories are about conflicts...and conflicts are another word for war. War against the self, war against nature, etc. Each author has her own opinion about what wars abound in this life. Romance writers concern themselves with the emotional wars at home and the wars between the sexes. Sometimes status and race are thrown in but for the most part, the characters in a romance story are dealing with their home culture and emotional inheritances and how their cultural inheritances conflict -- war with-- that of the one they have come to love. Other writers, on the other hand, deal with more political and social wars. And Christian fiction writers often deal with spiritual wars: the conflict between the self, the soul, and the spirit....and how that inner conflict is compounded when it encounters the world, the flesh, and the devil.
I totally believe that a great romance is the best kind of story possible. Why? Because it concerns itself with love --which is eternal and which changes the soul-- and with the creation of a new family/community while retaining the best of one's self and one's community. In Romances, relationships are ultra-important.
Now all this is tough for me to balance in a fantasy story which aims for action from the get-go. I, unfortunately, am fascinated by normal life --the normal life of the world we know, and the normal life of the fantasy world an author has created-- and what makes normal life tick. This means that even when I create a fantastical world, if I'm not careful I'll find myself wandering leisurely among the poor folk of that culture, ambling along the country lanes...and not pushing the plot along. Romance writers and Christian fiction writers are used to this kind of slice-of-life stuff. They are used to slow country rambles with subtle small conflicts and stressors. Most fantasy lovers, on the other hand, are more into Constantine-type stories. They want a lot more action upfront...like 30 pages of mucho drama, death, external warring. So I'm trying my best to get into that groove. What to do?
Work at figuring out how to work with cross-genres, maybe. Thank God I'm still growing as an author. I hope that whatever path my stories take -- the gentle ramble or the page-turning adventure-- that my fans will walk lovingly and patiently with me. Thank you all.
Thursday, April 3, 2008
Antagonism or Antagonist?
Theresa of Editorrent has been doing a series of posts on her blog about the origin and development of protagonists and antagonists. At its beginning, in Greek drama, the protagonist was simply the Main Character. And the antagonist was the thing that opposed the main character.
I've had some editors tell me that stories should have three characters. The hero, the heroine and the villain. But wow, isn't this limiting?
In a romance, the hero and the heroine often act as antagonists for each other, driving the other on to change. Sometimes there's another villain, especially if there's another plot, as there would be in a fantasy romance or romantic fantasy. I like the idea, though, of floating the antagonist role around.
I actually haven't thought about this long enough for a real blog post. But I do find it very interesting, especially at the developing-the-story phase of writing. So. There it is.
And the thing is, maybe the antagonist is a character, and maybe not. Maybe the antagonist is different characters at different times. Maybe the protagonist gets a turn at being the antagonist. Maybe the antagonist is something intangible like the weather, not a character at all.And I've been thinking about this idea. Especially about the one where the antagonist is different characters at different times.
I've had some editors tell me that stories should have three characters. The hero, the heroine and the villain. But wow, isn't this limiting?
In a romance, the hero and the heroine often act as antagonists for each other, driving the other on to change. Sometimes there's another villain, especially if there's another plot, as there would be in a fantasy romance or romantic fantasy. I like the idea, though, of floating the antagonist role around.
I actually haven't thought about this long enough for a real blog post. But I do find it very interesting, especially at the developing-the-story phase of writing. So. There it is.
Friday, March 28, 2008
Envelope-pushing
Who came up with this metaphor of "envelopes"?...and of "pushing envelopes"? It's an interesting metaphor. Up there with, "thinking outside the box" and "broadening the mind" and all those other catch-phrases which imply, for us writers, the fooling around with cross-genre stories.
Well, I'm working away on my current Work-in-progress, Inheritance.
When I start a novel, my aim is always to make it fully totally myself. Not because I'm so unique but because there are so many African-American Christian folks with First World issues....and I want to do my part in contributing to the emerging genre fantasy stories made for and by us. I can think of Neil Gaiman's Anansi Boys, The Shadow Speaker by Nnedi, Tobias Buckell's Science Fiction novels Ragamuffin and Crystal Rain, Robert Fleming's Havoc After Dark...among a few but honestly, considering there are so many Black, Hispanic, Asian, Native American, and South east-Asian folks in the US, there really ought to be more contemporary fiction (of whatever genre) on bookshelves that speaks to these cultures. Add to the mix that some of these folks are very religious --Christian, Buddhist, African tribal, Taoist, Shintoist-- and the main religion in fantasy seems to be Wiccan or Druidic... well, there is a major envelope that needs pushing, I think.
So that's my main purpose in my stories: to be as real and as fully me as possible. To be brave and put as much of myself into a story, in spite of the fact that the reader might not be prepared for such a world. In Wind Follower I wanted to be as Christian, as folklorish, as First Peoples, as High fantasy as possible....to see what such a book would look like. Just enough of the Euro-fantasy world to make it fit into the envelope. But enough to push the envelope a bit.
So there I was working on Inheritance. Inheritance is a book I want to be as Christian, as demonic, and as erotic as possible. The same envelope pushing. I wanted a succubus but I wanted a succubus that was really connected to Christianity, a female demon whom you hated, a demon who so intoxicated the sense of my main (good and noble) character that he would be tempted to rape any woman to repeat that pleasure. In short, I wanted to take my succubus seriously and do a modern-day version of The Exorcist with Christians fighting demonic possession. IN ADDITION, --because I wanted to put all myself in this story-- I wanted to deal with sexual-woundedness and make the story erotically-charged. And of course, all this had to happen to a black female Christian character.
Wind Follower got certain Christians annoyed with me because of six small sex scenes. Would I be willing to include the sexuality and alienate those folks again? And then there were the core fantasy fans. Many fantasy readers really liked Wind Follower but others were upset at its Christian content. Was I willing again to challenge the separation of genres? Did I want to push another envelope when Wind Follower had yet to prove that folks actually would read a book with a pushed envelope?
And what if I wasn't skillful enough to bring that book to fruition? If one speaks to pentecostal Christians, Native American non-Christians, Native American Christians, or Christians from Latin America, Asia, etc....talk of demons, spirits, and possession is fairly common. The problem is that although the demonic is ever present in the fantasy genre, most fantasy writers don't really really believe in demons. Heck! Some American Christians don't even believe in demons. Not to the extent that other folks do.
I've gotten some interesting correspondence re Wind Follower. Folks telling me that it connected them to their life in the old country, or that it reminded them of stories their grandparents told, or that it was a book that "didn't seem like a made-up book" because stuff like that happened to them in their old villages or in some weird town in Louisiana. I like that phrase: "didn't seem like a made-up book." So, for some folks, Wind Follower felt intensely real.
So, back to Inheritance: Can I write it? Can I ride on that edge again and cause the story not to fall flat? And if I do have the skill to write a story that is totally paranormal and totally sexual and totally ethnic, do I have the fearlessness to actually write it? The effect of bad reviews of Wind Follower (there have been about five, I think, that I know of. Five out of 23 isn't so bad but hey)can really make an author pull back from pushing that envelope.
When I read the Bible, I don't see it telling me to abandon my sin-stained culture to take on the European sin-stained culture. It wants me to be myself, a Christian of African-American descent. But when I read American fantasy, I feel as if I am called to abandon that culture and take on Elvish and Wicca. By the year 2057, the majority of citizens in the United States will be non-white. (The growth will be fueled by Latin American immigrants and their children. Most of these immigrants are Roman Catholic, Evangelical and even mormon.) Will fantasy books continue to call us to worlds of vampires, elves, wiccans? Worlds that have little to do with us? (I can deal with shapeshifters because shapeshifters such as werewolves occur in many ethnic cultures. I'd like to see less European shapeshifters, though.)
I'm hoping that writers of color and that my little book Wind Follower will help to push the envelope a bit...to create space on those fantasy bookshelves for books that reflect the ethnic and religious differences of the America that we are becoming.
Well, I'm working away on my current Work-in-progress, Inheritance.
When I start a novel, my aim is always to make it fully totally myself. Not because I'm so unique but because there are so many African-American Christian folks with First World issues....and I want to do my part in contributing to the emerging genre fantasy stories made for and by us. I can think of Neil Gaiman's Anansi Boys, The Shadow Speaker by Nnedi, Tobias Buckell's Science Fiction novels Ragamuffin and Crystal Rain, Robert Fleming's Havoc After Dark...among a few but honestly, considering there are so many Black, Hispanic, Asian, Native American, and South east-Asian folks in the US, there really ought to be more contemporary fiction (of whatever genre) on bookshelves that speaks to these cultures. Add to the mix that some of these folks are very religious --Christian, Buddhist, African tribal, Taoist, Shintoist-- and the main religion in fantasy seems to be Wiccan or Druidic... well, there is a major envelope that needs pushing, I think.
So that's my main purpose in my stories: to be as real and as fully me as possible. To be brave and put as much of myself into a story, in spite of the fact that the reader might not be prepared for such a world. In Wind Follower I wanted to be as Christian, as folklorish, as First Peoples, as High fantasy as possible....to see what such a book would look like. Just enough of the Euro-fantasy world to make it fit into the envelope. But enough to push the envelope a bit.
So there I was working on Inheritance. Inheritance is a book I want to be as Christian, as demonic, and as erotic as possible. The same envelope pushing. I wanted a succubus but I wanted a succubus that was really connected to Christianity, a female demon whom you hated, a demon who so intoxicated the sense of my main (good and noble) character that he would be tempted to rape any woman to repeat that pleasure. In short, I wanted to take my succubus seriously and do a modern-day version of The Exorcist with Christians fighting demonic possession. IN ADDITION, --because I wanted to put all myself in this story-- I wanted to deal with sexual-woundedness and make the story erotically-charged. And of course, all this had to happen to a black female Christian character.
Wind Follower got certain Christians annoyed with me because of six small sex scenes. Would I be willing to include the sexuality and alienate those folks again? And then there were the core fantasy fans. Many fantasy readers really liked Wind Follower but others were upset at its Christian content. Was I willing again to challenge the separation of genres? Did I want to push another envelope when Wind Follower had yet to prove that folks actually would read a book with a pushed envelope?
And what if I wasn't skillful enough to bring that book to fruition? If one speaks to pentecostal Christians, Native American non-Christians, Native American Christians, or Christians from Latin America, Asia, etc....talk of demons, spirits, and possession is fairly common. The problem is that although the demonic is ever present in the fantasy genre, most fantasy writers don't really really believe in demons. Heck! Some American Christians don't even believe in demons. Not to the extent that other folks do.
I've gotten some interesting correspondence re Wind Follower. Folks telling me that it connected them to their life in the old country, or that it reminded them of stories their grandparents told, or that it was a book that "didn't seem like a made-up book" because stuff like that happened to them in their old villages or in some weird town in Louisiana. I like that phrase: "didn't seem like a made-up book." So, for some folks, Wind Follower felt intensely real.
So, back to Inheritance: Can I write it? Can I ride on that edge again and cause the story not to fall flat? And if I do have the skill to write a story that is totally paranormal and totally sexual and totally ethnic, do I have the fearlessness to actually write it? The effect of bad reviews of Wind Follower (there have been about five, I think, that I know of. Five out of 23 isn't so bad but hey)can really make an author pull back from pushing that envelope.
When I read the Bible, I don't see it telling me to abandon my sin-stained culture to take on the European sin-stained culture. It wants me to be myself, a Christian of African-American descent. But when I read American fantasy, I feel as if I am called to abandon that culture and take on Elvish and Wicca. By the year 2057, the majority of citizens in the United States will be non-white. (The growth will be fueled by Latin American immigrants and their children. Most of these immigrants are Roman Catholic, Evangelical and even mormon.) Will fantasy books continue to call us to worlds of vampires, elves, wiccans? Worlds that have little to do with us? (I can deal with shapeshifters because shapeshifters such as werewolves occur in many ethnic cultures. I'd like to see less European shapeshifters, though.)
I'm hoping that writers of color and that my little book Wind Follower will help to push the envelope a bit...to create space on those fantasy bookshelves for books that reflect the ethnic and religious differences of the America that we are becoming.
Wednesday, March 26, 2008
The Pedestal of Author
Yesterday, I received a sweet little e-missive from a fellow author. In it, she lovingly but firmly told me about the concept of The Pedestal of Author. Backstory: I've gotten mostly good reviews on Wind Follower. When I have gotten bad reviews, I let it slide. Everyone has an opinion. When I get a really, really, really bad review....where the reviewer obviously hasn't written the book....well, I actually try to defend myself. Which is a no-no in writing circles, I'm told.
Anyway, the concept of The Pedestal of Author now has me thinking. What do I as an author think an author should be? What do I as an author expect my readers to think of me? What do I as a reader expect an author to be?
In some cultures certain kinds of vocation and work are considered important or honorable or "great." Nice job if you can get it. For instance, teachers are generally honored in many cultures. Doctors and Actors are honored in the United States.
In the black community, there is always so much pride and joy in great achievers. When I used to work in the high school I thought this pride in greatness was a bit dangerous. Kind of like an ethnic Cinderella Complex. Poor kids didn't want to be regular folks with normal jobs. They wanted to be famous rappers, great singers, sportscasters. It was as if their lives had been so bad that they only way they could overcome it would be to be in-your-face-famous with tons of bling, ho's, boy-toys, etc. I totally understand that. (And yeah, I'm actually cool with all those women wanting to hook up with Flavor Flav or Bret on VH1. You gotta do what you gotta do to get by. And hey, nice job if you can get it. But most people aren't gonna be famous. Fame is so important in our society. The nature of fame is that some folks simply are....and some folks aren't.
But I'm an author. Plodding work, a work of endurance, a work that revolves around ideas. I'm not particularly famous, though. Although you'd think from the way some folks in the hood behave, I'm the hottest thing since Vanilla Chai.
Hey, I don’t mind representing. What really makes my day at signings, etc is the love and appreciation my people have for me. They’re glad that I – a Black Woman– succeeded. If they are little old ladies, they ask where they can buy my book. When I tell them “from any bookstore!” they just smile and rejoice with me. Yes, I'm in a bookstore! When I say it's not self-published, it's from a traditional publisher, they really smile. When I say the book has so many religious stuff in it and so many racial stuff in it, but a secular publisher published it, they shout, "Praise the Lord! HE is able!" As a culture we have seen so many failures and struggles, that many of us still have a genuine joy and appreciation for those in our culture who have succeeded. Poor folks in the hood -- even the white ones-- love the idea that I'm an author.
Yeah, I’ll admit it. I get all teary-eyed when some Public Service Announcement pops up which states, “A black man created this…” “A black scientist discovered that…” And, yeah, I’m glad when I enter a room of little old Black ladies and they get teary-eyed over me.
Should we try to keep the mystique of Author Greatness? Do I OWE it to my people to behave like a real author, someone who symbolizes wisdom, persevereance, polish....and uh, maturity? If I DO try, how long can I keep up with it? Will I be able to be that other person long enough until it becomes second nature? When it become second-nature, will I become a pill, a know-it-all, or an object of pride and a help to all who know me?
Lord, help my people to continue to do great things. I'm trusting you to help me write this new WIP. Amen.
Anyway, the concept of The Pedestal of Author now has me thinking. What do I as an author think an author should be? What do I as an author expect my readers to think of me? What do I as a reader expect an author to be?
In some cultures certain kinds of vocation and work are considered important or honorable or "great." Nice job if you can get it. For instance, teachers are generally honored in many cultures. Doctors and Actors are honored in the United States.
In the black community, there is always so much pride and joy in great achievers. When I used to work in the high school I thought this pride in greatness was a bit dangerous. Kind of like an ethnic Cinderella Complex. Poor kids didn't want to be regular folks with normal jobs. They wanted to be famous rappers, great singers, sportscasters. It was as if their lives had been so bad that they only way they could overcome it would be to be in-your-face-famous with tons of bling, ho's, boy-toys, etc. I totally understand that. (And yeah, I'm actually cool with all those women wanting to hook up with Flavor Flav or Bret on VH1. You gotta do what you gotta do to get by. And hey, nice job if you can get it. But most people aren't gonna be famous. Fame is so important in our society. The nature of fame is that some folks simply are....and some folks aren't.
But I'm an author. Plodding work, a work of endurance, a work that revolves around ideas. I'm not particularly famous, though. Although you'd think from the way some folks in the hood behave, I'm the hottest thing since Vanilla Chai.
Hey, I don’t mind representing. What really makes my day at signings, etc is the love and appreciation my people have for me. They’re glad that I – a Black Woman– succeeded. If they are little old ladies, they ask where they can buy my book. When I tell them “from any bookstore!” they just smile and rejoice with me. Yes, I'm in a bookstore! When I say it's not self-published, it's from a traditional publisher, they really smile. When I say the book has so many religious stuff in it and so many racial stuff in it, but a secular publisher published it, they shout, "Praise the Lord! HE is able!" As a culture we have seen so many failures and struggles, that many of us still have a genuine joy and appreciation for those in our culture who have succeeded. Poor folks in the hood -- even the white ones-- love the idea that I'm an author.
Yeah, I’ll admit it. I get all teary-eyed when some Public Service Announcement pops up which states, “A black man created this…” “A black scientist discovered that…” And, yeah, I’m glad when I enter a room of little old Black ladies and they get teary-eyed over me.
Should we try to keep the mystique of Author Greatness? Do I OWE it to my people to behave like a real author, someone who symbolizes wisdom, persevereance, polish....and uh, maturity? If I DO try, how long can I keep up with it? Will I be able to be that other person long enough until it becomes second nature? When it become second-nature, will I become a pill, a know-it-all, or an object of pride and a help to all who know me?
Lord, help my people to continue to do great things. I'm trusting you to help me write this new WIP. Amen.
Tuesday, March 25, 2008
A Favorite Film: Die Hard
I can't really call this post just "Favorite Film"; I don't really have one specific favorite. I have a loose, revolving Top Ten list. But I'm pretty sure that at least in the last fifteen years or so, this movie hasn't left the list, so I can definitely call it A favorite film.
It's not hard to say why I love it--I'm certainly not alone in that--but it isn't easy either. It just works on every level. I don't care if there are moments that are a little schmaltzy (when Al the cop kills Alexander Gudonov [RIP] at the end, for example). It simply is, in my opinion, one of the greatest film ever made.
Oh, yes, I hear you scoff. Die Hard is light entertainment. It's an action movie. It's not Citizen Kane or The Godfather (which is another that stays high up on my list. LOVE The Godfather with a passion.)
But why does a movie have to be deep to be great? (Besides, I don't agree. I think Die Hard has some very deep moments and meanings.) Die Hard shows us what film can do; not just a slow, quiet movie about someone's death, not a character study, but really what film can do: transport us. Show us things that even now, 20 years after the film's original release, still make our eyeballs pop from the sheer ecstatic audacity of it. It shows us what a good script, surefooted direction, and outstanding performances can create. Not a step is out of line in Die Hard, not a moment is wasted.
One of the reasons why I think the sequels failed to live up to the original (other than simply the truth, which is sequels almost never do live up--the exception of course being The Godfather Part II which is so good I want to cry) is they lack the claustrophobia of the first. Terrorists in the building. Hero in the building. Nobody else gets in or out of the building. The entire film takes place there--in an office setting so familiar to us all, rendered unrecognizeable by the violence. Yes, we have scenes right outside the building, but even then, the Nakitomi Tower looms in the background. We never forget for a second what's happening in there--even the film's many moments of levity don't allow it, as they carry that same claustrophobia (even if it's simply the tight walls of a closed mind.) It's the sheer perfect tension of the set-up that enables everyone else to concentrate on the rest of the job: entertaining us. And they do it with confidence and ease. It's a beautiful thing.
Last year when my stepdaughter came to visit, the hubs and I decided it was time to start her film education. She's old enough now to handle most R-rated films (with the exception of stuff like Fast Times, which we'll probably wait a little longer on) and frankly, she doesn't get to watch a lot of good movies in her house.
The first movie we picked to show her was Die Hard. She's a little older now than I was when I first saw it (in the theatre on its original release), so it seemed like a good time.
And wow, was that fun. Every once in a while I'd glance over at her and watch her, her eyes saucer-wide, glued to the screen, her mouth slightly open. She was completely enraptured; I think I could have thrown things at her and she wouldn't have noticed.
That's what a great movie can do. It can capture us and hold us so tightly that for those few hours we forget everything else. And that's why Die Hard is a great movie.
It's not hard to say why I love it--I'm certainly not alone in that--but it isn't easy either. It just works on every level. I don't care if there are moments that are a little schmaltzy (when Al the cop kills Alexander Gudonov [RIP] at the end, for example). It simply is, in my opinion, one of the greatest film ever made.
Oh, yes, I hear you scoff. Die Hard is light entertainment. It's an action movie. It's not Citizen Kane or The Godfather (which is another that stays high up on my list. LOVE The Godfather with a passion.)
But why does a movie have to be deep to be great? (Besides, I don't agree. I think Die Hard has some very deep moments and meanings.) Die Hard shows us what film can do; not just a slow, quiet movie about someone's death, not a character study, but really what film can do: transport us. Show us things that even now, 20 years after the film's original release, still make our eyeballs pop from the sheer ecstatic audacity of it. It shows us what a good script, surefooted direction, and outstanding performances can create. Not a step is out of line in Die Hard, not a moment is wasted.
One of the reasons why I think the sequels failed to live up to the original (other than simply the truth, which is sequels almost never do live up--the exception of course being The Godfather Part II which is so good I want to cry) is they lack the claustrophobia of the first. Terrorists in the building. Hero in the building. Nobody else gets in or out of the building. The entire film takes place there--in an office setting so familiar to us all, rendered unrecognizeable by the violence. Yes, we have scenes right outside the building, but even then, the Nakitomi Tower looms in the background. We never forget for a second what's happening in there--even the film's many moments of levity don't allow it, as they carry that same claustrophobia (even if it's simply the tight walls of a closed mind.) It's the sheer perfect tension of the set-up that enables everyone else to concentrate on the rest of the job: entertaining us. And they do it with confidence and ease. It's a beautiful thing.
Last year when my stepdaughter came to visit, the hubs and I decided it was time to start her film education. She's old enough now to handle most R-rated films (with the exception of stuff like Fast Times, which we'll probably wait a little longer on) and frankly, she doesn't get to watch a lot of good movies in her house.
The first movie we picked to show her was Die Hard. She's a little older now than I was when I first saw it (in the theatre on its original release), so it seemed like a good time.
And wow, was that fun. Every once in a while I'd glance over at her and watch her, her eyes saucer-wide, glued to the screen, her mouth slightly open. She was completely enraptured; I think I could have thrown things at her and she wouldn't have noticed.
That's what a great movie can do. It can capture us and hold us so tightly that for those few hours we forget everything else. And that's why Die Hard is a great movie.
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