Saturday, August 27, 2011

Hurricane Memories


The first hurricane I have clear memories of is Andrew.  I was eleven years old, and my family was living in a converted workshop on a piece of riverfront property in the country.  The place wasn’t exactly sturdy, but we’d ridden out hurricanes there before, and my grandparents’ solid brick house was just yards away.  My mother had memories of Betsy and Camille.  By the time Andrew got inland, to us, it would be nothing compared to them.  We stocked up on canned food, filled buckets and plastic pitchers with water, and tied the lawn furniture down on the porch.

Like with most hurricanes, it’s what happened after the storm that I remember best.  We had a couple of horses in a five-acre paddock next to an oxbow lake, and after the storm hit, the field was four inches deep in muddy water.  The horses stuck their muzzles below the surface and came up with dripping mouthfuls of weeds and soggy roots.  It took a few days for the field to drain again, and by then, the horses’ pawing for grass had turned it into a plowed-up, muddy mess.  The horses weren’t the only muddy ones.  Since our water came from a pump well, and we were out power for a little over a week, we were out water as well.  I remember my father, sweaty and tired after chainsawing fallen trees and hauling them off to a pile to be burned, washing his hair outside in one of the trailing rain showers.

Andrew was also the storm where a poplar tree split in half when it fell and formed a perfect right angle around my father’s old gray pickup truck.  Not a scratch on it.  Thirteen years later, during Katrina, my old bedroom in that same house was demolished when an oak tree from the front yard gave it a direct hit.  You can’t always be lucky.

The last storm I was actually in before moving the California was Ivan.  The Enabler and I stayed up until two a. m. layering sandbags across the back porch of his condo to keep the water from the canal out.  It turned out the water never rose that high, but early that morning, while we slept through the storm, a monster of a pine tree across the canal came down, taking out the fences fronting the water and lying down neatly between the buildings of the complex, right through the unoccupied portion of the parking lot.

I’d already left home when Katrina hit, but not being in the thick of things was almost worse.  The phone lines were down, and the cell towers were so overloaded, I didn’t hear from my family for almost forty-eight hours.  I found out later that a tree had come down across the only access road to their subdivision.  They couldn’t get out.  Once the worst of the wind and rain subsided, the neighborhood men came out with chainsaws and axes and spent hours hauling it off the road.  Then my parents got in a car and drove west with their cell phones held up like divining rods, waiting for signal and an open line.  It took over thirty miles.  While they were driving, The Enabler and I were calling everyone we knew who was from the South but not currently in it, passing along messages and getting a few of our own.  Lakeview under water.  Trees down at a family member’s home in Baton Rouge, but no serious damage.  My friend’s camp on the river in Mississippi gone, nothing but the concrete foundation left. 

Of course, for every hurricane full of downed trees and flooding in my back yard, there are two like Georges, the storm that looked like it was coming right for us and then veered off to hit Mississippi.  And then there are countless ones whose names I can't remember, starting out strong in the Gulf but petering out into mere thunderstorms once they hit land.  We'd end up in the living room with the lights on and the AC blowing, watching the Weather Channel try to squeeze drama from the lackluster wind and drizzle.  These are the storms that explain why folks don't always evacuate when they should.

Stay safe, East Coast, and don't forget the batteries.

Sunday, August 21, 2011

This is Your Brain on Revision

How I revise a novel:





As you can see, I start out optimistic and thereafter oscillate between joy and despair.  It is possible for this pattern to continue indefinitely.  What does your revision process look like?

Wednesday, July 6, 2011

My First RWA!


Last week, I attended my first-ever writing conference, the RWA National conference in New York City.  It was overwhelming and fabulous, and here are the highlights:
  1. I met my agent (Sarah LaPolla, The Revision Ninja)!  Well, I’ve already met her, of course, but this was the first time I’ve gotten to meet her in person.  I tried not to squee.  We talked about books and publishing and the pros and cons of happy endings, plus our admiration for Bryan Fuller (and, of course, Lee Pace). 
  2. I got to meet some of my favorite authors, including Laura Bickle.  (If you haven’t checked out her Anya Kalinczyk series, you’re missing out.)  Laura introduced me to some of the RWA FF&P crowd, and I decided it’s high time I joined the chapter.   
  3. I should have been prepared for the ridiculous number of free books, but I wasn’t.  

I snagged thrity-five books. $356 worth.  The Enabler gamely carried on an entire suitcase full of books to avoid the checked baggage fee.  Bless him.  He really is an enabler.

4.  My roommates were rockstars!  I ended up rooming with my two critique partners, Rachael Herron and Kristin Miller.  They’re both published with Avon, which provided the free USB drives that came in our tote bags.  Those drives were pre-loaded with work by four Avon writers, and my roomies made up half of that list!  Pretty cool.  We had a gerat time.  Every night was like a slumber party, and the RITAs were like prom.  Here we are all dressed up at the awards ceremony:

Me, Rachael Herron, and Kristin Miller at the RITAs

It was a great trip, and I hope I get to attend next year as well.  Maybe by then, I’ll have finished half of those books.


Sunday, June 26, 2011

What Makes and Excellent Fantasy Novel? Part 5 of 5: Evil We Can Believe In


Spoiler Alert: I'm using JK Rowling's Harry Potter series as an example of a great work of fantasy.  If you haven't read the books, there are major spoilers ahead!




And today, Part 5!

“...as Dorothy L. Sayers once pointed out about the mystery genre, fantasy is one of the last bastions of “moral fiction.”  By this she meant that in mystery—and in fantasy—good triumphs over evil, the wrongdoers get their just deserts, and all ends, if not always strictly happily, at least well.  This is the definition of “moral fiction”: something that shows the world, perhaps not as it is, but certainly as it could and should be.”

There’s a depressing amount of tragedy in the world.  And most of it, unfortunately, is complicated.  The more closely you look at an issue—any issue—the more complicated it gets, and intelligent, well-meaning people can disagree on the best approach to dealing with it.  Solutions aren’t just difficult to accomplish; they’re difficult to find in the first place.

In a fantasy world, things can be simpler.  In the Harry Potter series, taking out Voldemort and his Death Eaters is the clear, universally-agreed upon solution to stopping the wizarding war.  Don’t get me wrong, any good book, fantasy included, needs to be nuanced about its conflict or we’ll all get quickly bored.  There are plenty of cowardly, selfish and power-hungry characters in the series doing their part to make the world worse for complicated reasons.  But having that central, unequivocal evil to fix our sights on is satisfying.  We know who we’re fighting. 

Not only is the evil in fantasy easy to identify, it can form a “universal well” for sub-conflicts.  In Harry Potter, the mistreatment of house elves and muggle-baiting are tied to Voldemort’s pure-blood wizard fanaticism.  Barty Crouch senior, who sent his own son to prison, was driven to by fear of the escalating violence of the Death Eaters.  Even Dolores Umbridge, the power hungry over-zealous Hogwarts disciplinarian originally tied to the Minister of Magic, goes over to the dark side once the war begins.  I’m not suggesting that these people wouldn’t have found other ways to go bad in the absence of Voldemort, but even Harry recognizes that Voldemort is at the root of it all.  While recalling the fate the Neville Longbottom’s tortured parents and Barty Crouch’s imprisoned son, he thinks, “…it all came back to Voldemort….He was the one who had torn these families apart, who had ruined all these lives….”*

For the reader, this sort of convergence is, strangely, relieving.  The more closely we look at real world problems, the more complicated and nuanced they get.  The more closely we look at the problems in a fantasy universe, the more they all seem to lead back to the same place.  Just like I love a good romance novel for the guaranteed Happily-Ever-After at the end, I love a good fantasy novel for the guarantee that the Bad-Guys-Get-It-In-The-End.  What’s more, getting the bad guys actually gets something done.  It’s a respite to sink into a world where people can figure out the problems and then solve them.

That’s it for my “Elements of Fantasy” series.  What do you think?  Did I leave out one of your favorites?

*Harry Potter and the Goblet of Fire, p. 607

Sunday, June 19, 2011

What Makes and Excellent Fantasy Novel? Part 4 of 5: Measured World-Building


Spoiler Alert: I'm using JK Rowling's Harry Potter series as an example of a great work of fantasy.  If your haven't read the books, there are major spoilers ahead!


One of my favorite parts of reading fantasy is slowly discovering the world of the book.  Sinking into a well-crafted world is the ultimate escape, and it adds tension and mystery to the story, keeping me guessing about what new aspect of the fictional universe I’ll discover next.  That’s why I think measured world-building—in any kind of novel—is so important.  How the secrets of the setting are revealed is just as important as what they are, and from what I can tell, there are three ways to build a fictional world: just do it, hint at the secrets and then fill in the gaps, or add complexity to previously-revealed details.

The easiest way to build a world is to just throw stuff out there.  J.K. Rowling does this with prophecies in The Order of the Phoenix.  Before the showdown in the Department of Mysteries, we don’t have much reason to suspect that prophecies exist.  Divination class is ridiculed by Harry and his friends, and the death omen Harry sees in The Prisoner of Azkaban turns out to be his godfather checking up on him.   All in all, omens and future-telling seem to be bogus, so when the existence of prophecies pops up on page 782, we’re just as surprised as the characters are.  The prophecies are a big deal, but I think this method actually works better with small stuff, things that add texture without impacting the plot overmuch. 

Of course, there are ways to hint at important information before revealing it, and this sort of “filling in the gaps” method of world-building can be very satisfying from the reader’s perspective.  We still get that delicious thrill of finding out something new, but because the author has been hinting at it, making a space for it, the reveal seems natural, almost inevitable.  Rowling does this sort of world-building with Horcruxes.

We know from Harry’s conversation with Hagrid in The Sorcerer’s Stone that Voldemort wasn’t killed by his rebounding curse, even though he should have been.  Hagrid says, “Dunno if he had enough human left in him to die.”*  Throughout the series, this ability of Voldemort to escape death is repeatedly alluded to.  Dumbledore says that Voldemort is not truly alive, and therefore cannot be killed.**  Voldemort himself refers to the steps he took to “guard [him]self against mortal death.”***  So, when we finally learn what a Horcrux is, it’s both surprising and not surprising at all.  We knew all along that something like this must exist, but there’s a lot of satisfaction in finally learning what it is. 

A much more difficult but highly satisfying way to build a world is to introduce a detail or aspect early on, and then have that aspect of the world build in complexity and importance as the story progresses.  Harry’s ability to speak Parseltongue is a fantastic example of this.  It’s the first magical ability we see Harry display, in Chapter 2 of The Sorcerer’s Stone.   At the zoo with his loathsome cousin, Harry talks to a python.  Rowling could have chosen anther way to introduce Harry’s magical abilities, but that fact that she chose Parseltongue is genius.

Harry’s ability to speak Parseltongue isn’t just a fun, texturizing detail.  It’s crucial.  He uses it again to uncover the Chamber of Secrets in book two, and at the end of that book, we learn that it is the result of Harry’s connection to Voldemort.  This connection takes on even more significance in The Order of the Phoenix, when Harry finds he is able to spy on Voldemort through the link.  In the final book, Harry uses Parseltongue to open and destroy the locket Horcrux, and he uses his window into Voldemort’s mind to find the remaining Horcruxes.  Something we starting out thinking was a funny magical talent turns out to be the result of a complex and dangerous magical connection, one that has huge implications for Harry’s ability to triumph.  A simple detail becomes more and more complicated—and important—as the narrative unfolds.

So, there they are, my three Ways of Worldbuilding: Just Do It, Build in Hints, and Build in Complexity.  What are your favorite ways to learn about a new world in a novel?
 

* Harry Potter and the Sorcerer’s Stone, p. 57
** Harry Potter and the Sorcerer’s Stone, p. 298
*** Harry Potter and the Goblet of Fire, p. 648