America’s Great Suck Out

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A Sub-Culture of Hate

Commentary by
Eileen Workman

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THE REST OF THE WORLD no longer looks to the “United” States as a trusted global leader, a support system for the suffering, a savior of the brutalized, or a hero for the cause of genuine democratic and humanitarian ideals worldwide. They no longer look to our culture as a promise of what could also be possible for themselves, but as a cautionary tale for what can go wrong once we sacrifice our willingness to work together. American egos are running amok collectively now, and are trampling the beautiful spirit of who we once strove to be into the mud of greed, selfishness, entitlement, bitterness, rage, and fear.

Many around the world view us today as a declining global power in collapse. They do feel compassion for us as human beings, because they realize many of us are now caught inside this mess of a once-robust nation against our will. But they aren’t riding in to our rescue, since as a nation we remain in active resistance to taking accountability for our harmful past behaviors. They watch us doubling down instead, and can only shake their heads and marvel, because they’re older and wiser, and they have all been here before.

Many also naturally feel fear to be witnessing the collapse of a once-great empire; it’s not easy to surrender respect for a childhood superhero, or to relinquish hope for a savior to come riding in to the rescue. Although they certainly feel no shame for having allied with us in the past. They trusted us then, based on the honor of our word—but we have broken it enough times now that they realize their trust was misplaced, so it’s not coming back.

We have behaved dishonorably for too long as a nation and as a people. The most serious consequences for that have not yet begun to fully manifest, but they’re coming.

Europe and Australia now choose to go their own way by deciding how they want to be in the future as a Euro/Australian Community without our undue influence, or even our inputs anymore. Our betrayal by electing Trump for a second time was a bridge too far. Once, they could overlook and forgive as a systemic aberration and an irrational cultural blunder. Twice?

They aren’t allowing themselves to be fooled again.

They now seek to render us virtually irrelevant to their continued wellbeing, because we have left them no choice.

Central/South American and African nations have been expanding their financial and trading ties with the Chinese for a couple of decades, and have established new Asian trade agreements and humanitarian relationships for future development. Those seeking to immigrate from those countries now realize they’re no longer welcome here, so their labor capacities, hopeful can-do attitudes, and entrepreneurial drives will no longer be flowing our way to inject our nation with fresh bursts of enthusiasm, or the natural generosity that flows from gratitude when we help others self-actualize, rather than punish them for not having done so sooner.

Asia, Canada, and Mexico also realize they cannot count on us anymore for friendly trade, or for other forms of fair and mutually beneficial exchange. So they too now realize they’ll be best served to look to other parts of the world for fresh opportunities, and to look to themselves to determine how to be healthier and stronger without us than they ever were while with us.

We actually do sound right now like a narcissistic spouse, screaming, “You’ll be sorry when I’m gone!” at their silently relieved partner, who is counting the days until the divorce is final and the assets are safely split so that the narcissist can longer control their wellbeing, or threaten their safety whenever they don’t get their way. We are presently being Gray Rocked by the rest of the world; only we confuse their determined refusal to engage with us (because it’s a bloody waste of time) with submissive compliance and with silent respect.

Gulf of America, indeed. A foolish move for a tarnished brand. But then, when has the tarnishing of the brand—rather than demanding that the shiny spotlight of attention be cast upon it, for good or ill—ever mattered to Donald Trump, or Elon Musk? Does it even matter to those of us cheering them on, or just silently assenting to, their ego-driven antics and casually destructive behaviors?

Where global trade is concerned, has it even occurred to most Americans that we have been global net importers and consumers, rather than global producers and net contributors, for many decades? And that we feel wealthy not because we are better then all those others, but because we have exploited those others in their distress so that we don’t have to work nearly as hard to acquire and enjoy all the stuff that we now take for granted, as “rightfully ours.”

Only the rest of the world’s longstanding willingness to embrace the US dollar as its global currency standard still preserves our collective buying power today. So if our brutishness and rudeness, our entitlement and our contemptuousness finally offend our global trading partners deeply enough, we’d best be prepared for mass shortages, along with a sharp decline in the perceived value of the dollar—as well as in all things American. And all right about the same time that the social safety net we have spent nearly a century weaving, after our first Great Depression caused so much damage, suffering, and death, is being actively and hastily dismantled.

Hooray!

And if you think we can just start manufacturing all sorts of goods here at home, and right away, and then all will be well—I have some more news for you. The only way to do that is to remove many regulations we put in place to protect the quality of our local environments. It will also require the American people to toil in those factories ourselves, out of desperation and a lack of alternatives. And even then, we still don’t have nearly enough natural resources to feed the capitalistic, consumptive, corporate beast that craves endless profits at the expense of nature and humanity both; which might be why this administration now seeks to extort or pillage still more resources from others.

Still, it does seem that building many new manufacturing plants so we can produce the crappy, unnecessary goods that we buy to assuage our own existential emptiness will soon be affecting a neighborhood near you. Expect more belching factories, more polluted waters, more industrial accidents, and more financially motivated systemic failures to cause greater death and environmental destruction. Expect increasingly barren soil—not to mention more plant and animal extinctions and intensifying natural disasters—as our continued violent rape of the splendor of Mother Nature can now expand, unimpeded by life itself, within our own borders.

I suspect this to be an ultimately healthy development in the process of bringing the Age of Political, National Empires to an end, assuming we don’t destroy ourselves in the process. I also sense many Americans still have no idea what others around the world are actually feeling, or how they perceive us. We have taken our “special” status for granted for far too long, because we started believing we were some sort of uniquely positioned, forever beacon of liberty and communal creativity. A shining city on the hill, we told ourselves, rather smugly, filled with truly exceptional people. Those unexceptional “others” were clearly causing all of the problems we now face; so once we have eliminated or criminalized all of them, we’ll all be just fine.

We have wrongly attached the label of “meritorious” and good to ourselves, while assigning an “undeserving, unworthy” evil label to almost all others. In that, we are sacrificing our humaneness on the altar of our own judgmentalism.

We actually did this to ourselves—that’s the crazy part. We started to take our role as the sole leading nation for humanity’s future way too seriously, and we allowed it to hyper-inflate our communal ego, even as our attention turned toward the darker side of power/dominator, animalistic brutality. We conflated power with force; we’ve lost sight of the innateness of human dignity because we commoditized the worth of “others” and then treated them as undeserving based on our collective judgments.

We reached for tools of coercion and vengeance and violence as useful shortcuts to the harder, though ultimately more sustainable practice of trusting grace, and compassion, and wisdom, and genuinely peaceful goodwill to bring others along with care, and kindness, and patience—and with respect for our interdependence, rather than out of disgust or anger at having to expend the heartfelt effort it actually takes to foster love and more harmonious co-creation.

What hubris!

What absolute, utter folly.

What happens now? We will need to await the fallout from our ongoing, stubborn refusal to learn from either our own mistakes, or from the successes or failures of others. I certainly don’t know where these uncharted waters are carrying us, but if it results in a humbler, more gracious, wisely restrained way of relating more respectfully with others, then I will welcome those changes—even though I find the means we are using to achieve that unintended result to be painful, destructive on many levels, and harmful to countless people and to our own planet.

As Confucius once said, “By three methods we may learn wisdom: First, by reflection, which is noblest; Second, by imitation, which is easiest; and third by experience, which is the bitterest.”

Maybe capitalism needs to bitterly self-destruct, and right here at home, for the fever dream of it all to finally die around the world. Maybe we do need to reap the direct consequences of our exploitation, colonialism, and reliance on brute force to extract whatever we want. Maybe we need to be taught, in an undeniable way, that we cannot enslave reality in service to only ourselves, and still live in a reality that we will ultimately find worth enjoying. Maybe we still need to learn why purely transactional relationships cannot and do not thrive over the long haul in an increasingly conscious and fully interdependent world, and why love is truly the only binding agent powerful enough to sustain us whenever rapid changes introduce stress.

Maybe.

Is this an apocalyptic end of our species we are fast approaching, or just the ending of a painful old era as we discover why it makes sense for us all to become ever more humane?

Nobody knows. But the relentless winds of change will blow either way—which is as it ever was, and ever will be. So I do suggest we try loving one another for a little while, and while we still can. Let’s wonder together where love can lead us; because judging and condemning each other, while doing battle against our own imagined fears and projected assumptions has not proved itself a particularly lucrative or sustainable practice.

— Eileen Workman
Author of Raindrops of Love For a Thirsty World
and Sacred Economics (The Currency of Life)

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Excerpt

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HOME . . BUY
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THE ETERNAL
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Excerpted from
SURREALITY
(An Unusual Collection
of Irrational Stories
for Disordinary People)

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by Dave Workman

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< Excerpt #1 >

B E G I N N I N G

MY NAME IS MEI XING, and I will soon depart from this realm. I have lived so very, very long, a life rich beyond reason. I now accept mìng yùn willingly, guided by the gentle hand of my beloved. My death will be my husband’s ultimate consummation of our love, his final gift to our blessed union. Before my passing, I must reveal a most extraordinary tale. I speak not for myself, but rather of my husband’s own astounding journey. This is my gift in return, a bequest to all who are and who will ever be. Only with his consent do I write these words.

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O N E

THOSE WHO KNOW ME, know nothing. I have carried my secret in darkness for too many years. Yet mine is a secret that must unfold, for it is truth. Listen, my children, and consider all that has come before us.

I was born in a distant land, amidst the turbulent uprising known as Yihetuan. I was birthed in the blood-soaked dirt of Shandong, my father already dead at the hands of the Christian foreigners and my mother soon to become a slave of Prince Qing of the First Rank, a great-grandson of Emperor Qianlong. The prince (I would later discover) was the most unscrupulous of leaders, an insatiable man who traded China’s tears for gold.

My earliest memories? I remember a palace—although whose palace, I do not know. To a small child, a castle is a remarkable realm, a playhouse of great possibility, ripe with dark, secret rooms and gleaming marbled hallways without end, of pungent spices and swirling colors, of uniformed men and temple priests and silk-draped women of high esteem and confidence.

But I was not a child of the palace, simply an urchin within its magnificent folds. Soon enough, along with many other girls my age, I was taken by oxcart to a sailing ship, under the watchful eye of a stooped, elderly gentleman whom I had barely met and did not trust. My sisters and I had been instructed to call this man ‘Grandfather Lau’ with utmost affection. As the morning sun rose, our sails unfurled. I watched with sorrow as my homeland vanished into the past.

The bright colors of the world quickly disappeared, replaced by the ugly brown wood of our worm-threaded vessel. Ahead, I saw nothing but the tepid grey expanse of sea and sky. I remember vividly the tired moan of old planking, the creak of wet hemp and the wails of my sisters. Even the birds had given up their playful cries, ultimately abandoning us to our providence. I constantly scanned the horizon for the edge of the Earth, eager to plunge toward whatever fate that I imagined would only improve my dismal, mortal existence.

As I feared, the waters did prove endless. Our provisions grew scarce and for several days we were given only cold rice and water that tasted—to the best of my childlike recollection—green. Even the sailors grew restless and ill-tempered, and then afraid. Min Min fell sick and Jiang died. Around me, my sisters prayed and wept.

One morning, a sudden brightness illuminated the sky. The overhead sun caressed my face with its warmth. A wind of blessed forgiveness filled our slack sails and our vessel plowed through each wave with swift vengeance. Instead of an infinite hole, there eventually appeared before our mast a fog-shrouded silhouette of low hills and dark forests.

I watched this strange land approach, barely aware of the barefooted, half-naked sailors rushing to prepare the ship to dock. I could soon discern tall, block-like shapes of many, many buildings behind a gradually receding haze—not the ornate, angular forms of those I had left, but stark buildings that spanned a far greater distance than any castle I could ever imagine.

The only word I remember on Grandfather Lau’s lips is this: “Fiscow!”

And what a wondrous place, this Fiscow. I had never before seen a steamship or a railroad train. I had never seen pale men or tall women with yellow hair. So many remarkable novelties filled my senses.

My sisters and I were taken from the bustling wharf by a horse-drawn wagon, up a hill and then up a larger hill, along a muddy road to an imposing red brick building with few windows. Men carrying large burlap sacks, and who smelled of tobacco and opiate smoke, accompanied our wagon, their overseers yelling and cursing, brandishing bamboo reeds—many of my sisters cried—and Grandfather Lau hovered over us with a clucking, fussing intensity. At the top of yet another hill the wagon groaned to a stop. My sisters and I stomped up a lengthy flight of narrow, squeaking stairs. We found ourselves in a perfumed room of silk draperies and satin pillows and alight with many candles. Beautiful ladies sashayed among us, and whose enchantingly painted faces reminded me of the intricate opera masks I remembered from the palace. The ladies delighted in our presence, giggling and singing and purring words of soothing assurance against our ears.

I believed that my nightmare had ended. This was a world of soft musical notes plucked on a stringed ruan, of mesmerizing colors and scented fragrances—and I wondered if one of these stunning young women might be my mother.

Perhaps the greatest gift of my childhood was my incomprehension that day; I did not understand my intended fate until many years afterward. But on that day, I did not know such words as slavery or concubine—only that I was given a clay bowl filled with noodles and onions swimming in a steaming fish broth. When night fell, I slept deeply in a world I believed would at last become my loving home.

Much later I would learn the foreigners’ calendar date of my arrival in this rambling city of San Francisco: The 18th of March, 1906.

For many weeks after our evening meal, my sisters and I were locked in a large, windowless room, with only the glow of a single candle casting ghostly shadows against the walls. Porcelain pots in each corner sufficed for our necessary toiletry needs. We shared several enormous straw-filled mattresses strewn upon the floor and, each night, I felt safely cocooned amid the warmth of the others, wondering what excitement our next morning would bring.

But quite soon my fairytale reality crumbled. Late one night I was jostled from my dreams by a grumbling tremor. The room shuddered and shook, and I felt myself lifted into the air, only to fall again amidst the flailing bodies of screaming children. Suddenly, the night crashed down upon us, choking our terrified wails into abrupt silence. A ragged cadmium sky appeared overhead, while the floorboards beneath us trembled in agony.

I remember the crack and torque of shrieking wood and I tumbled blindly into an abyss. I most certainly lost consciousness, for when I awoke, the world had again steadied itself. I lay without moving for a long while, listening to the whimpers around me. I called out and eventually we found one another in the dark, five of us, frightened and shivering. Clutching hands, we wove a snakelike path through the debris, the barest hint of morning light leading our way. We stumbled amid the rubble, tripping on the warm, wet bodies of my many sisters.

We huddled together in the mud-chilled street, aware of distant shouts and cries in the murky light of an awakening sky. A few buildings around us had likewise ruptured, littering the ground with debris and the broken dead. From our view atop the hill, I could see a yellow-orange flicker of many fires in the city below. We held each another tightly, awaiting whatever terrible fate would certainly follow. We did not move or eat for two days—until white men in stiff blue suits struggled up the hill, blowing shrill whistles and calling out for anyone who might respond.

Many years later, as a historian of some renown, I would take keen interest in San Francisco’s Great Earthquake. At the time, newspapers reported fewer than 700 deaths in the city. Later revisions would raise the death toll to more than 3500. But among the gu lei—the so-called worker coolies—I would glean evidence of some 8,000 additional deaths. So many transients and immigrants and undocumented slaves had been buried beneath the rubble, forever entombed as the city rose again above them.

But on that horrible day, I remained miraculously unharmed, a whisper-thin waif of child with only a handful of English words in my brain. Poor Grandfather Lau had attempted to teach us our new language in those weeks before the ’quake. But I never saw Grandfather Lau again. Nor do I know what became of my surviving sisters, although I can only assume that none found so exhilarating an existence as soon would I.

For several days I lingered in one of hundreds of hastily-erected army tents scattered throughout the Presidio District, far enough from the smoldering embers of a city I had not yet come to know. Then, one morning, two soldiers brought me before a stunning woman wrapped in white silk, who knelt before me with a most haunting smile and spoke in soothing words I did not understand. An older man, a bearded guilao dressed in blue stood beside her and said nothing. Although the woman confronting me was Chinese, her words were those of this new world, and I struggled to remember my own pitifully few English phrases in return. I bowed, speaking politely and she smiled again, her warm hand feather-light upon my shoulder. When the bearded man nodded his approval, the soldiers turned to leave, and I suspected my life’s course had been once again inexplicably altered.

Mrs. Lin Li Muldoon, whom I would soon learn to call Miss Lin, took me into her home as an apprentice pot scrubber, entitled to a stipend of two pennies a week, which I was free to spend or save until my services were proven sufficiently worthy of a real wage. Miss Lin nicknamed me Marcy—as she deemed Mei Xing too difficult to pronounce. She preferred that her staff speak proper English, Miss Lin well aware that the language of the foreigners represented my future.

Ten of us served in the Muldoon household; cooks, valets, porters—even a doorman. Their sprawling estate had been slightly damaged by the ’quake, but its hillside location in Presidio Heights had saved it from the raging fires that had destroyed much of the city.

Once again, I found myself wandering amid the princes and princesses of this new realm. Miss Lin’s home was indeed very much a castle—tall and immaculate, filled with mystique and so many splendid rooms, long and winding passages, anonymous doors locking their secrets behind thick, brass key plates. Heirlooms of my homeland abounded; paintings and sculptures and tabletop objects fashioned from ivory and jade, gold and pearl. We were forbidden to touch and sometimes I would stare at these objects until I cried, for they reminded me of my birth land, of a mother I’d never known.

For several weeks I sat on a high stool in the Muldoon’s enormous kitchen, with little else to do but watch and wait. I quickly realized the way to Miss Lin’s heart was through stillness and rapt attention to detail, and I was very, very good at absorbing the duties of those around me. Two mornings each week, the Muldoon’s household chef, the robustly rotund Mr. Fréchon, explained every detail of his activities. In the afternoons, I often polished silverware or scrubbed a bevy of large copper pots, enormous vats that would sometimes consume my tiny body. Yet I would scrub and scrub until Mr. Fréchon—muttering Ça suffit! Ça suffit!—snatched the vessels from my grasp, my hands raw and red and occasionally bleeding from my efforts.

Most other mornings were crowded with math, English and American history, my studies overseen by Mrs. Livingston, an older woman who had lived in Wenzhou for many years. She spoke Mandarin very well, although she rarely permitted me to converse in my native tongue.

The days and then weeks and then months passed in a blur. Soon enough, I was rousted at daybreak, expected to perform more rigorous duties. I delighted in plucking feathers from various fowl, tending ovens and dumping ash buckets into an outdoor bin. I sliced onions and peeled carrots and, standing upon a rickety wooden stool, stirred simmering sauces and gravies. Within five years I would be preparing vegetable and potato dishes for the family—and by the age of fourteen I ascended to prominence as the Muldoon’s primary cook.

Mrs. Lin Li Muldoon, only twenty-seven years of age when she found me, had once upon a time been a Jiangsu princess who’d fled across the ocean ahead of a scandal that would have severed her head in the lightning flash of a dao. Gifted with the perplexing beauty of royal blood and having arrived on these shores with trunks filled with Chinese artifacts worth a substantial fortune, she quickly captured the attention of a local sea captain. Raphael Muldoon was a kind and gentle soul, some twenty years his wife’s elder, and quite smitten with his young princess.

Captain Muldoon proved to be a most wonderful man, sea-bound much of the time but who eventually became very much a father to me. I learned that soon after their marriage, he and Miss Lin had begun their crusade, frequenting brothels and opium houses, buying up the children of the damned and leading them to freedom. Not far away, on Lake Street, The Muldoon School for Orphaned Children of The Orient housed some 80 students a year, young girls once destined for an otherwise brutal and savage existence.

I was one of the fortunate—quick of mind and spirit, wide eyed with wonder and endowed with a persistent smile despite my perilous youth. In the Muldoon household, I knew myself as neither slave nor servant, but rather as a skilled and respected employee, indentured only by my age and ensured to one day become a free woman who might come and go as I please. And yet I could not imagine parting from the Muldoon family, for I wished to remain within Miss Lin’s employ for the whole of my life.

Wished for nothing more, that is, until I met Captain Sebastian T. Renaud.

He was quite handsome, this captain; tall and statuesque, perhaps thirty years old, although he wore his age like a shroud. Clearly a man of youthful vigor, clean shaven and polite, he possessed an extraordinary command of the English language, with a wisdom and ken beyond his years. The first time I gazed upon Captain Renaud my heart swooped as might a dove in flight, and I eagerly absorbed as much gossip as I could from the household staff: That he was a dear friend of Captain Muldoon’s who had been a frequent guest in the past. An anthropological expedition to Egypt and Sudan had kept him abroad these last several years. But now, much to my heart’s joy, he had returned to California.

An exceedingly intellectual man, as one might instantly perceive by his grace and air, he nonetheless lacked the excruciating conceit of many who are well-travelled and properly educated. Although quiet and reserved in conversation, he was conversely a fine narrator—and before his journey to The Dark Continent, I learned that the Muldoon’s six children and many of the staff would often sit in the parlor after supper and listen in rapt attention as he spoke of ancient wisdoms and cultures.

I was likewise invited to hear the Captain’s tales this evening (once the dishes had been cleared) and a thousand questions bubbled forth inside my head.

Yet the first time our eyes touched, we spoke not a single word. I had rushed from the kitchen bearing a plum-and-sausage glaze forgotten by one of the servers and perchance the Captain was passing the doorway into the dining room. He paused, mid-step—as I nearly collided glaze-first into him—and I shall never forget the way he gazed at me.

I fell in love with him in that same heartbeat—a profoundly dreadful realization, as I knew such desire would burn hollow in my soul for all of eternity. But within the span of that chanced glance, I had discovered a depth to my own being that I had never before known. I returned to the kitchen and wept like the child I knew myself still to be.

< Excerpt #2 >

A SLIP OF THE TONGUE, a single errant thought, would soon change the fabric of my life forever. One evening, late in the autumn of 1934, my husband and I shared a brandy on the upstairs veranda overlooking the Pacific. The sun had magnificently painted the western horizon in pink and orange hues. Our conversation, as it so often did, touched upon the perverse culture of slavery and on those we hoped to soon assist. Bondage and servitude continued to prosper amid the world’s economic collapse, the children younger and younger each year, so seemingly helpless and most without a modicum of hope.

“I have known many forms of oppression in my life, but none so aberrant as this,” Reni admitted in the midst of our discussion.

“I’ve not found any form of slavery dear to my heart,” I said with some intended irony.

“No, no—you’re quite right, my love. I misspoke. Neither the Negro in the South nor the uneducated immigrant on either shore is yet free of peril, despite this—this illusion of liberty that our Caucasian Christian brethren dare to espouse. That oppression abounds amid such civility, even in this modern age of radio and automobile and electric appliance, I am appalled. Having myself felt the sting of the slaver’s whip, I cannot fathom the act of subjugating children so young, ripping young daughters from their mothers’ arms for a life of prostitution and debauchery. This is not simply suppression of the body, but conquest of the very soul. It is beyond redemption.”

“I agree,” I responded, although my brow had creased. Reni had never spoken of slavery in personal terms before. Might this finally be a glimpse into his inner darkness? His inner pain?

“In these many eons passed, seldom have I known a separation of mother and child so young. Nor such a perverse domination.”

“Oh?” I asked, becoming quite confused.

“Children of yore were seldom torn from their families. Not taken to be abused in the most despicable of ways.” Reni stared off into the distant ocean and spoke as if entranced. An appropriate word from my lips might have broken my husband’s spell, but I remained silent.

“Even amidst the cruelty of life, children were spared. Fed and housed and loved by their parents. Not until puberty…”

I held my breath.

“Not until puberty,” he said again, barely a whisper, still enraptured with the thoughts colliding inside his head. “Not until then…”

“You know so absolutely of such times?” I asked gently.

Before he could regain a semblance of propriety, he said, “I was once held captive by Sh’lomoh ben Dawidh, King of Judah. Today we call him a wise man, but he was driven to lust and arrogance and often to utter irrationality.” Reni took an angry sip of cognac. “I was imprisoned because I spoke a single word of kindness to a young maiden whom the man coveted. Sh’lomoh would seduce any virgin brought before him because he considered his seed the divine extension of Yahweh’s love. An absurd notion.”

I stared intently into my husband’s eyes. “Sh’lomoh?” I asked finally, my voice barely audible. “You speak of… Solomon, Son of David?”

“Aye, the same.”

“Solomon,” I repeated, unable to escape the dizzying illogic of this conversation. “The king who offered to cut in half an infant claimed by two mothers?”

“The suggestion was not his,” Reni said, “but rather that of a plump eunuch, an oracle who would often whisper in the king’s ear. The oracle, whose name escapes me at the moment, was far more cynic than fair man. As I recall, much wine was consumed before the decree. You might say that Sh’lomoh was merely—”

But my husband fell suddenly silent. I believe only now did he realize the extent of his unfettered thoughts. After several moments, Reni emitted the slightest of self-deprecating laughs, his eyes attuned to the distant horizon.

Ah,” he said simply. “I appear to have broken the vessel, and so the wine spills forth.”

I remember the stillness of that moment; the silence of the night, the serenity of the distant ocean, the crickets suddenly muted, as if the entire world held its breath.

“I am ready to listen,” I said softly.

When he finally gazed toward me, I saw such heartfelt anticipation in his eyes. “And I am ready to speak. I suspect that this will be… difficult. For both of us.”

“I am your wife,” I reminded him.

“Yes. My zhenguì.”

My heart burst forth with joy, with pride. “I am here for you, my husband. Always.”

“King Sh’lomoh ben Dawidh,” my husband uttered again, as if remembering a long forgotten memory. “An intimidating man. He had several growths on his neck and shoulder, each the size of a ripe olive. And only three fingers on his left hand. History omits those details.”

He paused, as if in reverie.

I waited, wondering if these preceding moments had been a glimpse of madness—or else some subliminal cry in the wilderness? I noticed that his snifter was nearly empty. “Shall I pour another brandy, my love?”

“No, no,” he said quietly. “I believe you should bear witness without suspecting me of drunken rhetoric. I don’t wish for you to ogle me like some startled baboon.”

I smiled, amused by the absurdity of that notion.

But Reni’s gaze remained solemn. “You have not yet heard my story.”

“If you were Satan himself, I could not love you less.”

“Not demonic perhaps—although I fear you’ll decide me insane. Some secrets lay beyond even the sanctity of matrimony.”

When I said nothing, Reni found the courage to begin his tale. “My beloved,” he whispered, “I am older than time.”

And so very aware of my husband’s tenor, I did not believe him to be speaking metaphorically.

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T W O

“I DO NOT KNOW the year, nor the century. Not even the millennia,” he began after a thoughtful pause, once again regarding the blood red sun on its descent toward the horizon. “And yet, as God as my witness, I believe that I may have been born fifty thousand years ago—perhaps sixty or eighty or even one hundred thousand years, as I have absolutely no way of knowing for certain. Great holes, you see, exist in my memory. And yet, what I know for certain is that sister Earth was a great paradise in my youth, a strange and wondrous realm. My story I cannot prove, but ask only that you hear me out, and decide for yourself that I am not certifiably bonkers.”

Again I did not speak. Perhaps Reni thought me intrepid. My heart raced however; I had not spoken for fear of emitting the shrillest of sounds. I sat, rigid, and allowed my husband to continue.

“Please understand that when I was born, humankind did not yet know of kingdoms or kings, of priests or sacrifice, nor of politicians and the inevitable suffering they cause. Mine was a world frozen in its own naiveté—a time in which time wasn’t even the slightest of notions. Remember that the Roman Empire is merely two thousand years old, the kingdom of the pharaohs but six or eight. I was born perhaps fifty or more thousand years prior—before the concept of paper or the words to write. Before man rode a horse or harvested grain for bread. A great deal has transpired of which modern man knows nothing. Yet these are the moments I remember.

“Our thoughts, our tongues, our needs were incredibly primitive. I have read many histories of late Paleolithic man over the last several decades—some foolish and others remarkably astute, although I have no idea of our species’ birthplace, no early memories of any primitive advancements or philosophies. Nor do I have any chronological references prior these last few millennia. Some say the pyramids of Giza have seen but five thousand years—others say ten—and I simply don’t have a clue, although I have admittedly observed these structures in their most opulent glory, adorned with ornately carved wooded balconies, cascading with red and blue flowers, and capped in gleaming silver. Yet without clocks or calendars or seasons, one’s perception of time is quite imperfect. That I don’t know the exact millennia of my birth may sound absurd, but understand that for countless eons, little change occurred my life. In those distant ages there were no seasons, nor night and day, as our planet did not revolve around the Sun as it now does. I can only—”

I stood suddenly, clutching my throat with one hand, wondering if Captain Sebastian Renaud might indeed be mad. Or worse, that his words were somehow fermenting insanity inside my head. I was horrified to recognize Reni’s prophesy as truth—I had acted very much like a startled baboon.

I instantly regretted my lack of faith and struggled to find my voice. “I don’t disbelieve you, dear husband. But I fear that I cannot believe my own ears. No day or night? I don’t understand the meaning of such words.”

“Yes, of course—you’re quite right,” he said, reaching out to take my hand. “I’m unforgivably cruel beginning my journey with such aplomb. So many mysteries abound, and each deserves its own tale. Permit me to begin with only the most believable of the unbelievable. When I have finished, if you are comfortable with the veracity of my story, I shall divulge more. But only at the proper time.”

I settled back in my chair and managed a polite smile. “Perhaps that is best, yes.”

< End Excerpts >

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More Common Obstacles

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rules-header-fullA notebook for fiction writers and aspiring novelists. One editor’s perspective.

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More Common Obstacles that
Novelists Typically Confront.
Also: The Neurodivergent Writer.

I’ve previously mentioned those few literary hurdles I often confront when working with novice writers. Getting stuck (See: A Few Common Obstacles) is the most common dilemma that new writers encounter—and a conundrum that all writers face at one time or another. Although the act of getting stuck generally assumes that we’ll eventually get ourselves un-stuck as well. That occasionally annoying perceptive rut known as writer’s block isn’t supposed to be a chronic condition, and most of us manage to work our way free sooner or later.

However, if getting stuck increasingly feels like a permanent situation, or if you find yourself consistently accumulating little more than first scenes or first chapters—project after project, year after year—the issue(s) you face may run far deeper than simply a matter of ‘learning the ropes’ or ‘running out of fresh ideas.’ If you’ve been toiling away for a year or two or several on any single project, yet remain unsatisfied with the results or with your level of creative output, perhaps it’s time to dig a little more deeply into your writer’s psyche. Even if you consider yourself to be a gifted writer, your inability to produce adequate results (in terms of quantity or quality) may require some personal introspection. In other words, some of us must eventually confront those emotional or psychological roadblocks potentially inhibiting our progress.

And while the prospect of ‘personal introspection’ may carry a certain negative weight, don’t worry—it’s not a euphemism for ‘you suck at writing.’ Rather, if you’re aching to write but can’t seem to gain traction, self-reflection is simply my suggestion (unscientific as it is) that you look inward before contemplating all those extraneous external factors. Various assumptions for not writing—I can’t find a sharp pencil!; or It’s raining out!; or The rent’s overdue!—may feel like adequate excuses (and sometimes they can be) but more often than not, such superficial symptoms disguise a far more complex, subconscious quandary.

While legitimate factors such as fear of failure, or what if I’m not good enough? or even the very real fear of success do exist, those psychological roadblocks can often be overcome by simply acknowledging their presence. Thus, consider this: I’m certainly not good enough if I give up, but if I try, I may surprise myself. Because the only thing worse than failing to finish a novel is an unwillingness to start a novel.

You won’t know if you don’t try—and not trying (or succeeding) is often the result of unrealistic self-doubt or lack of confidence. Every writer born has suffered through great gobs of self-doubt. (Stephen King’s disposal of his first manuscript, Carrie, only to be resurrected from the trashcan by his wife, Tabatha, is legendary. Had he not have been married, the iconic Mr. King may never have sold a single book.)

For first-time writers (especially those without concerned spouses like Tabatha), various, ubiquitous subliminal roadblocks can feel pervasive and insurmountable… because sometimes our brains are funny that way. But, guess what? Every problem has a solution. Every story has an ending. There’s always a way to get from Point A to Point Z, no matter how seemingly hopeless the journey might appear. However, each of us needs to dig deep to find the patience and persistence to go the distance. So finish. That’s Rule #1 after all.

Refer again to Perfection should you remain uncertain. Because (spoiler alert!) perfection doesn’t exist. (You can always change a word, a sentence, a paragraph…) So stop trying to obtain the unobtainable. Allow your first draft to be little more than a messy, incomplete rough sketch of whatever greatness is meant to come. Allow yourself sufficient time to tweak and refine and polish through numerous, subsequent drafts. Even if you can’t achieve perfection, pretty damn good is worth striving for. (And also quite possible!)

Ask yourself What’s the worst that can happen by trying, by staying the course? If you can’t convince yourself to go the distance, maybe writing a novel isn’t your best creative outlet. Yet other creative endeavors may await you, and it’s probably important to discover your options before you spend a year writing an uninspired (no offense) 400-pages that will ultimately disappoint you.

However, before you give up completely and become a plumber or an astronaut, what unrealized roadblocks or self-doubts linger within your soul, waiting to be discovered?

You may be #1: A Serial Story Starter. Starting a novel is a lot like a first date. The possibilities feel boundless, and our expectations are through the roof. Filled with excitement and confidence—even if our perceived ending (or second chapter, for that matter) remains a bit nebulous—some of us can easily write a fabulous ten or 20 pages with little effort.

And yet our creative expectations, like love itself, can be fickle. Here today, gone tomorrow. It’s not uncommon for new, assumptive writers to experience that roller-coaster of emotional highs and lows, once the initial rush of balloon-light giddiness dissipates beneath the eventual iron fist of reality. Before long we may begin to sense waves of self-doubt, fading hopes and unexpected stumbling blocks. Some of us will begin to approach our pages, our progress, with a tingling sense of dread. Might starting a novel have been a mistake?

Frequently, as we concoct and/or approach a specific story line, we may realize (correctly or not) that the story inside our head is more difficult to decipher than originally presumed. Maybe the plot sputters, or our premise begins feels weak or clunky. Our characters stop speaking to us or become lost in the fog. So many What if—? questions remain unanswered. So many Now what—? questions feel suddenly impenetrable. Or maybe, 30-50 pages into our story, an even better idea comes to mind. Those feelings are more common than you might think—and knowing when to stop can be as important as knowing when to hunker down and proceed.

It’s perfectly alright to revamp our daydream in another POV, or tell our story in a different way. It’s also perfect okay to start a completely new book from scratch. It’s all part of the learning curve, after all, and ’tis far better to disregard 50 or 100 pages and begin anew, rather than belabor to complete an unfulfilling brick of a book that you’ll ultimately stick in a drawer, disgruntled and disillusioned, and perhaps never write again.

Many (most?) published writers do have unfinished starter novels and dog-eared notebooks filled with half-baked ideas littering our drawers and PC desktops. Those false starts are also part of the process. We’re still in the process of learning to think like novelists. Sometimes, that development can take years or decades of effort.

Or, you may be #2: A Pantser. Thirty years ago, the term pantser did not exist—or else did so clandestinely and had yet to evolve into the literary limelight. The term (should you have recently awoken from a coma) defines those freestyle writers among us who write without any perceived forethought or planning or, more often than not, without a clue as to how one’s story might end.

Personally, I love starting a novel with wild abandon, sometimes with only a vague or fuzzy notion of my characters’ personalities/motivations and with a single inciting incident in mind. But within 30-or-so pages I typically realize that I’m confronting too many options to wing it any further.

At that point I begin to outline my next few scenes and/or chapters. And while I shall refrain from mentioning the virtues of outlining yet again, if you’ve missed my last few dozen posts, HERE‘s a quick reminder. Do realize that outlining doesn’t necessarily mean religiously, unerringly, bullet-pointing an entire novel from cover to cover before you begin writing. Outlining can be as brief and as vague as a few jotted lines that jog your creativity or lead you out of a jam or dead end. For me, outlining is also a sort of reality check (can I do this scene differently? Can I do it better?) before I proceed into uncharted waters.

If you’re a pantser and decide outlining doesn’t work for you, at least you’ve eliminated the process as a potentially valuable tool. So it’s worth consideration.

Or you may be #3: A Daydreamer. (All dressed up and nowhere to go.) We’re all daydreamers, we fiction writers. Ain’t nothing wrong with daydreaming—what’s a novel after all, but a daydream we write down, embellish, and ultimately complete? I’ve known a good many writers who concoct rather brilliant ideas, even come up with a functional synopsis or summary…and then perhaps finish a scene or two, a chapter or two, before realizing that Writing is hard. (Refer again to: A Few Common Obstacles.) For most creative people, concocting boffo story ideas is by far the easy part. The difficulty comes over the next several months, or years, attempting to complete the story you’ve envisioned. It’s not for the feint of heart. Nor for the incredibly busy.

Or you may be #4: Trying Too Hard. A strange revelation, perhaps—as I’ve spent my entire blog suggesting to writers: Do your best! However, there’s a difference between doing one’s best and obsessing over every word, every comma, phrase, every nuance—because sometimes an over-zealous writer, compulsively, repeatedly editing, can’t see the forest for the trees.

So, yes—there is a Goldilocks Zone—editing/rewriting too much or editing/rewriting too little. Unfortunately, there’s no real litmus test for discovering this zone, other than the writer’s own creative intuition. However, realize that finding a balance in a novel—as with anything in life—finding balance is crucial.

Or you may be #5: A Closeted Screenwriter. The novel isn’t the only game in town. If you love writing dialogue but hate elaborate scene-setting or nuanced character-building, consider writing a screenplay. A 90-120 page script (translating into a 90-120 minute cinematic runtime), can be completed in a fraction of the time and (imho) far easier to conceive and complete. Ninety percent of a screenplay (more or less) will be dedicated to dialogue. Deep thinking, indecision, unspoken secrets — all are non-existent, unless exposed through dialogue, or VO, or a few dramatically visualized, emotional cues. Scene-setting is reduced to a few lines of often vague information, and yet sufficient for a director to interpret. Thus:

EXTERIOR. SUMMER. DAY. SOMEWHERE IN NEBRASKA. A FARMHOUSE SITS ON A DISTANT HILLSIDE. UNSEEN COWS ‘MOO’ IN THE DISTANCE.

JAKE and MARY SUE walk hand-in-hand down a dirt road toward a tractor shed, where JAKE has parked his old ’67 Flatbed Ford.

MARY SUE
(staring cautiously behind them)

Daddy says I’m not supposed to see you any more. He says if he catches us together he’ll throttle me and kill you.

JAKE
(smirking)

Let ’em try.

MARY SUE

He ain’t jokin’, Jake. I’m scared.

JAKE
(motioning toward the Ford)

Then run away with me, Mary Sue. Today. Right now. We always talked about goin’ off to California. Now’s our chance. Let’s leave this shit-hole, and your no-good excuse of a father, in our dust. No more milkin’ cows. No more takin’ crap from a man who’s far more a drunk than a daddy.

MARY SUE
(frowning)

I can’t just up an’ run, Jake. I can’t leave little Billy alone with that man. Not for a single night. I need to stay an’ protect my baby brother. You know that.

In a screenplay, you’re either choreographing actions (such as driving away) using very basic, sparse language, or else you’re expressing thoughts/emotions (fearing a drunk daddy, protecting a vulnerable little boy) largely through dialogue. So your options are simple. You’re either depicting visual actions using very few words, or else revealing necessary information through relevant dialogue.

It’s up to the writer to convey emotion as simply, as precisely, as possible. One can allude to visual cues (Perhaps we see Mary Sue frowning at Jake’s suggestion to leave, for instance.) But even that nuanced gesture or expression is ultimately in the hands of the director, working in tandem with the actor, to fine-tune those visual cues, based on the blue-print (script) that you’ve provided.

Nor is there need to transmit unnecessarily detailed info to your audience. Let’s look at the aforementioned Nebraska farmhouse for example. Unless that particular structure/color/location is somehow specifically relevant to the plot, it’s simply labeled (in your script) “a farmhouse.” Whether it’s new or dilapidated, big or small, white or brown or a pleasant Robin’s Egg Blue—if its description isn’t plot-specific, it’s irrelevant in your script. A set director or location scout will run those potential decisions past the film’s director.

Realize that a script is simply a tool, one of many foundational elements necessary in producing a film. And you, the writer, are simply the “tool maker.” (And a well-paid toolmaker, should your script make it into a film’s production stage.)

But you’re not the end-user. The director wears that crown. And seldom, if ever, will a script be followed verbatim. Some scripts, by the end of a film shoot, may even be unrecognizable by the writer. So just be aware that a great many story-making decisions — those exclusively decided by a novelist (although somewhat massaged by a publisher) — are now under complete control by a director (or a cinematographer or a set-designer). You’re merely providing those folks with a viable roadmap. A director may dramatically alter your story, change your vision in numerous ways, even hire various script-doctors and/or other writers to fulfill certain needs. It’s just part of the process. Film development is a team endeavor. Once the script is complete, a screenwriter simply moves on to another project.

Certainly, pro’s and con’s exist, and should be examined in far more detail than I could ever explain here. (Nor have I ever completed a screenplay, so there’s that!) I highly recommend William Goldman’s Adventures of the Screen Trade. (Goldman wrote Butch Cassidy and the Sundance Kid, Marathon Man, The Princess Bride, All the President’s Men…so the guy knew what he was doing.) Also check out Blake Snyder’s Save The Cat.

Writing, selling and marketing a script is a whole ‘nother beast, and in a marketplace far different than traditional book publishing. I have a friend who once optioned a single script three times. When a screenplay is optioned, typically by a production company or lone producer, your story is in limbo. Meaning that your script hasn’t—yet—been outright purchased, but is being held in escrow as that producer’s exclusive property. No other production company or studio can touch it for a fixed amount time (sometimes a year or more), until that producer either commits to film it or releases all rights back to you.

You are, however, paid a stipend (typically 4-figures, occasionally more) for the luxury of waiting—although there’s no guarantee that a producer will find sufficient money and actually begin production. (If so, you’ll sign a contract and be bumped into a 5- or 6-figure compensation.) And finding yourself with an optioned screenplay is certainly better than having no interest at all.) If your script is ultimately rejected, you’re free to put it back on the market. Some scripts will spend a decade or more, bouncing between various production companies, waiting to find the right fit.

#6. One final consideration might be: Neurodiversity. Meaning neurodivergent writers. The short definition of neurodivergent is one who may think differently at base neurological levels—specifically someone with a ‘spectrum disorder’ such as ADHD, autism or Asperger’s; those of us who process language and thoughts in non-neurotypical ways.

Okay, so a disclaimer. I don’t really think there’s anyone in this world who’s “normal”. It’s a colloquial, catch-all word that defines… I’m not even sure of what personality type it defines. (Perhaps boring?) I’ve also recently heard the word allistic as a suitable, less-offensive alternative to neurotypical folk. Yet a great many people who don’t consider themselves as neurotypical do consider themselves very neuro-creative. Many of the artists, musicians and writers I know personally are brilliantly off-center in one way or another, and wouldn’t have it any other way. Nor would I.

Yet, throughout history, I suspect a great number of creative folk were neurodivergent—maligned perhaps, and yet managed to successfully publish. (I mean, you can’t tell me that Poe was just your ho-hum Average Joe.) And as technology has made the writing process easier, or at least more available—voice-to-text dictation apps like Speechnotes, Otter and Dragon come to mind—new methods of “non-traditional writing” are proliferating. And the upcoming acceptance of AI—unless it revolts and kills us all—may make alt-writing methodologies and idea prompts feasible.

The biggest obstacle I’ve heard from neurodivergent writers is how difficult the writing process can be for those of us who ‘think differently.’ While a neurotypical writer may take 10-20 minutes to complete a page, a neurodivergent writer may take days or weeks or months. The information flowing through our brains is there, just that the transition phase—from ethereal daydream to the excruciatingly linear extraction of thoughts on a page—may feel prohibitive. Reading how-to books designed for neurotypical writers can actually dissuade spectrum writers from even trying, because so few of the accepted rules apply.

I can also add my wife to that list of spectrum writers. She’s published two non-fiction books. She’s often told me that her thoughts appear as ‘holographic movements of energy’ inside her head, not in a linear cause-and-effect model that many of us perceive. That transference between head and paper, she says, is often hard to distill, and her process is often tortuous.

I don’t pretend to know the intricacies or underpinnings of the neurodivergent mind. I’m aware, however, that goal-setting is often an issue. So if you find yourself chronically troubled starting a story or book, or having trouble getting through that first chapter or scene or even page one, perhaps one possible solution is Outlining. An outline is simply a rough guide or roadmap—and can be a relatable buffer when trying to connect the ‘creative idea’ phase of writing and the ‘doing the deed’ phase of putting words on paper in a concerted, organized fashion.

Another option might be, if one’s so included to experiment: Write your book’s first scene or chapter, then write your book’s final scene or chapter—even if your last scene is intuited—vague, but promising. And then connect the dots. Knowing where you’re going (my wife’s told me many times) is essential for soothing the neurodivergent mind. As true in writing as it is in cross-country road trips.

Also, fight the urge to constantly check the clock or count your words. Write at the speed you find most comfortable. Write (and this applies to all writers) what’s fun to write. If you’re not having fun… why bother? Write the story that you want to write—even if you feel that the world’s not ready to hear your voice. (You won’t know if you don’t try.) Beauty’s in the eye of the beholder, after all. And there’s no such thing as a ‘normal’ story. Take your time. Don’t write what you feel a neurotypical world might want to read. Write from the heart. Currently, publishers are looking for different approaches from new perspectives from forgotten, maligned and undervalued voices.

Also see First Drafts, for more info on The Idea vs. The Implementation transition. (And why that may matter for neurodivergent writers.)

FYI: There’s a fairly extensive list of neurodivergent writers on Goodreads. The most famous of the neurodivergent novelists (presumed ADHD) was Ernest Hemingway. Which explains much of Hemingway’s stylistic approach, IMHO.

Not ready to give up on your current manuscript? Not ready to give up the prospect of being a novelist? One final suggestion. Put the manuscript away for at least two weeks. Maybe a month or more. Allow yourself sufficient time to clear your head, or to formulate new ideas (write a short story or two, perhaps?) and then approach your your manuscript with a newfound thrill and a fresh perspective. Sometimes, that down time can work wonders.

 

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Story vs. Plot

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A notebook for fiction writers and aspiring novelists. One editor’s perspective.

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Story vs. Plot. What’s the dif?
(Also: How to resolve the
“My story’s-too-short” dilemma)

I’m aware of confusion among many newbie novelists concerning the difference(s) between plotting and storytelling. So what exactly is a plot? What exactly is a story? Are plotting and storytelling identical? While the two terms might appear synonymous upon first glance—they are not.

A fictional plot contains a series or sequence of events, circumstances or the collective steps of a journey (physical, emotional, spiritual) that typically begins with an inciting incident and unravel in linear fashion—from your story’s Once Upon A Time… until the conclusive The End.

A story is a fusion of the three primary components necessary to create a complete, believable fictional reality. A story must include: 1. Plot momentum, as well as; 2. Character development, and; 3. Proper (meaning sufficient) scene-setting. A good story will seamlessly blend all three components — and will comprise little else. (See Simple, But Exciting.)

Character development should be self-explanatory. That is, the deeper, more fully formed and complex your characters, the truer-to-life those paper-people will become to readers. Insufficient (wooden, superficial, mundane, re-active*) characters lack the charm, attitude, unique individualism and compassion (for a protagonist) or else lack sufficient heartless, conniving and/or downright evil (your antagonist) qualities. Pro-active characters will skillfully, creatively and intuitively create or solve problems — and proactive protagonists won’t simply and repeatedly react to whatever obstacles a writer dumps in their way.

Proper scene-setting is more than simply visualizing a bare-bones environment for readers. Scene-setting means providing characters with proper stage-setting, and the subtle visualization of all necessary elements in a scene. Scene-setting also allows readers to occasionally stop and smell the flowers (for no other reason than stopping to smell the flowers). With each new scene or chapter you begin, it’s imperative to update (if necessary) the scene’s new whereabouts, any new time frame—has darkness fallen? Have days passed? You’re even noting any mood or emotional shifts in your characters. Your job is to note any relevant changes and make the appropriate updates.

Scene-setting also means providing readers with necessary sounds, smells, and attitudes… so don’t skimp on using a multitude of senses. The aroma of a sizzling steak or the screech of a hungry osprey can be as emotionally relevant to readers as defining a quaint village, a crumbling hillside castle, an angry sea or a cadmium colored sunset. In terms of a timeline, do you begin your new scene on a new day (or night), the following day, next Tuesday, or 2027? So if your last chapter ends around noon, and 10 or 12 pages into your new chapter, readers discover street lamps aglow, you’d have better revealed to us right up front that night has indeed fallen.

Or, to put it very simply:

PLOT: Is what happens.

STORY: Is what happens to whom.

Need more prompting? Okay, so let’s say you want to write a story about a ship sinking. Let’s call this tub the R.M.S. Titanic. A rough outline of your plot might be that of an unsinkable ocean liner speeding across the Atlantic, hitting an iceberg and gradually descending into the icy depths of history. Good plot (and certainly the tragedy’s been written enough). The choreography of the ship’s sinking — the unseen iceberg, the waterproof bulkheads failing, the boilers blowing up, the eventual founding and the ship ultimately splitting in two — that all makes for a riveting plot. But where are the people? How do they cope? Without a host of characters integrated into your story, you’ve basically written a book about buoyancy, or the lack thereof.

But put 2240 souls aboard that sinking ship — and perhaps focus on a dozen of those passengers, each with a different, dramatic, chaotic story to tell — now you’ve turned that very basic plot idea into a very spine-tingly, emotional story. Who’s the hero? Who’s the coward? Who survives? Who doesn’t? Who watches their loved ones go down with the ship? Again, a good story isn’t necessary about the what, it’s about the who.

Finding yourself with a too-short page count?

Newer writers, working on early drafts, tend to work primarily on plot-development first and foremost—which is perfectly okay. When you’re in draft mode, ain’t nothing wrong with defining your plot from beginning to end before you begin to embellish and elaborate. After all, you want to know where you’re going and how to get there. But once a writer’s sure of that destination, it’s all about plumping up character personalities and motivations, and grounding readers in the here and now.

Typically (and this is a generic observation… exceptions always exist) for every 100 pages of plot momentum, one can easily write 100 pages of character development as well, some of which may directly or indirectly influence your plot as well, but can also add back-stories or side-stories or include secondary characters who fail at their tasks (or intentionally thwart your MCs…who then have to try again). And a writer can easily add 50-100 pages of scene-setting, exploring/explaining realms, adding visual excitement to scenes. Heck, some writers (and George R.R. Martin comes to mind) can write a dozen pages simply visualizing a feast, setting the table and choreographing a scene before the action even begins.

So if you find your characters moving mechanically through the book, mindlessly following the plot—realize that there’s room for all sorts of embellishment and unexpected twists and nuance. How many times have you seen a character fail to start a car, when time is of the essence? Those few moments of frustration aren’t directly plot-related, they’re intentional interludes meant to add tension and drama. You’re upping the emotional ante and giving readers additional reasons to turn the page.

Should you decide to throw in a few extra characters to foil your MC’s efforts, you can add dozens or hundreds of pages to a manuscript that don’t directly influence/effect the plot, but that add to the overall thrill ride. Not to mention that you’re creating characters far more exciting (clever or scary, unlucky or frivolous or devious…or whatever) for readers to discover.

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* What’s a reactive character? That’s a character who’s always (or most often) responsive to an unfolding plot. Reactive characters typically resolve obstacles through luck or <gasp!> coincidence. (More than one or two discreetly placed coincidences and your novel may begin to feel fake or unbelievable.)

A reactive character wanders from scene to scene, and has little need for personal growth (See: Character Arcs), rational deduction, fortitude or tenacity. Sure, protagonists often initially react to initial drama or danger (again, your novel’s inciting incident) and occasionally to various situations beyond their control, but once a protagonist is motivated, it’s up to him/her to actively confront said drama or danger, to make important decisions and take control of the situation, no matter the risk.

For instance, your disgruntled PI can’t simply solve a crime by sheer luck alone, blundering into clues and having witnesses suddenly pop out of the woodwork, pointing fingers. Your gumshoe must make logical, skillful pro-active choices to solve the case. Or maybe your MC wins the lottery. (Somebody has to. Why not her?) But a character who’s flat broke, finds a dollar bill on the sidewalk and then spends it to win a billion dollar lottery, a day before her eviction, divorce and potential suicide? That’s borderline coincidental. So is the cop who defuses a bomb with 3 seconds remaining on the timer. (How many times have you seen that one? It’s not only coincidental, it’s pretty much a cliché.) Your protagonist(s) must actively rely on their cunning and knowledge to survive (or fall in love, or solve a dilemma or win the big game, or whatever). Sure, protagonists must be occasionally lucky… but too damn lucky? Unless you have an ironclad reason — a literary equivalent of a last-second Hail Mary Pass that wins the Superbowl — that’s pretty much taboo.


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Write the Daydream

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A notebook for fiction writers and aspiring novelists. One editor’s perspective.

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Write the Daydream
(Intro to Plotting)

What’s a novel, but a daydream or fantasy we write down and embellish, expand and hone into something coherent, dramatic and hopefully entertaining?

Sounds simple enough, in theory. But how does one begin? How does one even attempt to begin?* How do so many fragmented and rudimentary thoughts (Hey, I’ll call this dude Romeo. I’ll name his girlfriend Juliette. They’ll live happily ever—no, wait, I have a better idea!) emerge to produce a provocative story? Maybe we gaze longingly at books like A Game of Thrones, or The Lord of The Rings, the Harry Potter series or The Time Ships, and think WTF!? How do people create such rich, complex, creative narratives? What were they thinking? What were they smoking? I could never begin to craft such an incredibly detailed epic adventure! Until I figure it out, I guess it’s back to watching reruns of The Gilmore Girls.

Do realize that before we sit down and actually put words to paper, we may spend weeks, months or sometimes years concocting and babysitting a concept that feels as if it could become a story. And yet some novice or wannabe writers will ponder or percolate (or else procrastinate) for years, waiting either patiently or frantically for Just. The. Right. Moment. to shift from creative daydreaming to actually beginning that first draft.

But until you begin actively writing that first line, that first page, that first scene, that first chapter—let’s face it, you may be lost in an uncertain Twilight Zone between creative inspiration and cranking out pages. Procrastination is a very real issue in a writer’s world and, yes—most writers subliminally know when they’re stalling, hiding behind the veil of “My story needs more research.” Hey, we all procrastinate a bit—but if you’ve spent years yearning to write, and you’ve yet to put a word to paper, you might want to tap out a few pages, just to see what all the fuss is about. (You may surprise yourself and feel an overwhelming sense of pride, or awe, or self-gratification.)

Conversely, some beginning novelists—heads filled with so many exciting possibilities—believe they can plop down one day in front of a notepad or a PC and simply begin to scribble or type out a coherent, fully-developed story. Most of those writers don’t realize that stream of consciousness writing will only get you so far….but then what? Writing a novel requires an incredible amount of pre-prose strategy, of organization and finesse. And most of us will likely require a working roadmap (see Outlining) so we don’t lose ourselves along the way. A few lucky writers are able to simultaneously craft a comprehensive story inside their heads as they write, but that’s an ability most of us do not enjoy.

But let’s back up a sec, to the aforementioned …but then what? Three of the most important words for a writer to comprehend. Because most, if not all novels begin with a single What if…? notion or premise. A novel is a logical, sequential series of What if…? scenarios. No sooner than you’ve answered one, another What if…? question should arise—a series of dramatic questions and answers that end only when your story concludes. Just realize that story-telling (e.g.; novel writing) employs the same cerebral techniques as does daydreaming. And more about What if…? questions in Plotting (Part I). One coherent thought leads to another sequential thought, to another thought that provides forward momentum of one sort of another:

Gee, I wish I could fly. What would I do if I could? What might I accomplish? What if…? Or, Linda doesn’t even know I’m alive. If I could only make her notice me! What if…? Or, I love to realm build! Dragons and castles and wizards and dark magic! But where do I start my story? How do I inhabit such a wonderful place. What possibly could happen that will interest readers? Hey, what if a young knight bumps his head, develops amnesia and then….? These fragmented notions, in the hands of a creative mind (or in the mind of creative hands), might easily become the core of a superhero thriller or romantic comedy or epic fantasy—or a thousand other fictional possibilities.

Can’t think of a daydream suitable to become something more? Sure you can. They’re everywhere—snippets of this idea, fragments of that idea— just waiting to be found. Quick—think of something dramatic! Or unexpected! An inciting incident can be as simple as a knock at the door or as ominous as a giant meteor, hurling toward Earth. What about chance meeting in a park? Or somebody in the wrong place at the right time? A lottery ticket found on the ground. Or what if that meteor crashes to Earth with a talking hamster inside. (Hey, I’ve read worse!) Maybe Aunt Judy’s just turned into a flesh eating zombie.

…but then what?
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* Don’t know where to start? See the appropriately named Where To Start.


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