Ecolog-ollection

Genealogies gleaned from ancient human DNA are set to transform archaeology.

For an historical fiction author (well ... I used to be), this one represents a tantalizing plot bunny. Who were the unrelated women on these prosperous farmsteads? Why are there no offspring present with their DNA? Graves and grave goods gave me a huge amount of the research information I used when I wrote The Ax and the Vase, and still featured significantly in my work on the second novel. This sort of thing seems to energize my creative juices. Maybe, juuuuust maybe ... someday I can talk about work on that second novel in the present tense again. *Sigh*

Mmmm, ancient brains. Jokes aside, either one of these stories that could be a plot bunny, or maybe they're interesting in their own right. Right now, I am not chasing bunnies, but I have found myself peeping out of my own burrow from time to time to sniff the air and *think* about them.

Urban ecologists who ignore the geography of race and income in a city do so at the peril of their science

Time to tell that one middle manager to lose the "survival of the fittest" poster. It is INSPIRING and very, very cool to take a closer look not only at the influence of community and cooperation in biology, but to once again review the very idea of individuality, as regards any body ... and anybody. This, for me, begins to look like a bunny I'd like to chase.

Bacteria, for instance, may make as much as 95 percent of the serotonin in our bloodstreams, meaning you have a diverse symbiont community to thank for your pleasant mood. ... (A)nimals, humans included, are really multispecies events, composite byproducts of collaboration.

I have eaten the plums

The sun is back out. America's midterm elections are over. My friend V ... well. Losing her is awful, it's cruel. But she is not hurting now. Doctors can't use her body to experiment now. And those who love her - I am humbled they embrace me. Her husband, her family, her beloved friends: beautiful, beautiful, wonderful people.

This time has been hard. Like so many families, the remains of our nuclear unit - just me, mom, and my brother now - endure terrible political strain in these times. But, just for this morning, it's virtual hugs and three courses of "I love you." Because these strains have everyday, real consequences - this has, in some ways, been even harder than watching my lifelong friend die. Or, perhaps, it only got in the way of comprehending and mourning. I only know this has been the hardest thing to bear, over this past week.

We are all enduring a confluence. My brother is traveling to the memorial of a friend of his, and beautiful V's will be remembered on Saturday. As her kids do this, my mom is now watching her own oldest friend in town "giving back", as some say in the South. It may be we all suffer the loss of our dear Deebo, my stepfather - and each of our dear friends.

The light of inspiration peeked out not too long ago - unsurprisingly, after The Conference, but also very much under the influence of other friendships. Leila, especially, uniquely lights my creative way. She and I have so much in common, but we write such different works, and about the time I did a recent beta-read for her, I also happened to find the ENDING for a short work we began an embarrassing number of years ago in our writing group. It's been drafted two different ways, I let it settle in a certain direction, and for now it is sitting quietly, resting, rising, awaiting both her feedback and my final attentions.

Writing. Feels. So. Good.

There truly is nothing else like writing.

And so, with voting done and the sun out and my family whole ... I open up the WIP, the big dog, the "real" work. The novel. Just open it. I shall scroll about in it, find something to alight upon, and read a little bit.

Research feels like a good way to go. I fear it may have to be, at long last, the pogrom. (Yes, now, of all moments.)

Sometimes, the way writing feels "good" is different from other times. It's not always pleasure.

Sometimes, it's memorial.

I'm feelin' it!

2018 has not been a prolific year for me with writing. The blog has been a bit weirder, I know; and any activity I've indulged on Twitter's #AmWriting has been sporadic, if not an outright lie (in attempts to convince myself).

Lots of this owes to the facts of life - well, and death. But yesterday, there was some good news. This past weekend, there was The Conference - and, though I had hardly thought about it and wasn't even sure I was up for it, it was kind to me (even beyond seeing my WONDERFUL writing friends in the most glorious community you could ask for), and ... I feel like writing again. Maybe not the WIP, at least for a minute. Maybe time to take another look at that ghost story I've been trying to find the MDQ for for, literally, years. Maybe take a piece of The Ax and the Vase, and develop that ... Basina, or Lanthechilde (who was cut out of Ax entirely, actually). Maybe something altogether new.

It'll let me know.

In the meantime: we have spotted the sun a couple times of late, locally. It is not humid. The heat is finally letting go. Tomorrow is Friday (and pay day). One of my oldest friends, apparently is not dying. (This is was not a given, two weeks ago.) My mom's still in a bit of a state, but I am planning ways for the two of us to have a good time together. I've got some ideas.

Today is a blessing.

May yours be even moreso.

PROSSA-seez

Since my last post, there has been some indication of life in the WIP. I have the comments to thank, in part, but also mindfulness that baby steps really are the most important, sometimes.

After a week at work that was extremely difficult - not because the work was hard, but thanks to office politics which demand emotional and professional bandwidth I don't have these days - I've returned for a new week with my head down and my feet steady. You have to keep your ambitions small when things are overwhelming, and a week that ends with the advice to document difficulties is overwhelming.

So the WIP may be viewed as a saving grace - something for my brain and soul to resort to, which is "under my control" (cue the laugh track of every author I know enjoying the idea they "control" their writing). Well, perhaps it is just a refuge - a puzzle to work under stress, a world outside the one I have to occupy day-to-day. A promise to be winkled out.

A week ago, it was scary facing the dragon, but right now it is oddly satisfying to contemplate going at something so big. With work being just as daunting, the strange truth is that the butter knife is turning out to be an unexpectedly efficacious tool.

The thing is to see it as a TOOL, rather than a weapon.

I don't want to kill a dragon. I want to write a book. It does seem rather fighting-a-beast terrifying, given that I have been out of the world I want to build for so long, but thanks to perspective and a certain assist from Jeff Sypeck, I realize that not only is this not a fight ... the fact is, it's an enterprise I can take or leave, and that somehow makes me want to claim it, to get the best of it, to create something remarkable.

Or just create something.

Whatever the words, the point is *motivation* - something I have not had for six months, really.

As with the WIP, so goes the job. I'm off my game - even just cognitively, my mom and I both are up against forgetting things, being blankly unable to identify how to deal with things, the recurring embarrassment of displaying our sieve-brains. It's pretty giddy, but I have trust that it is temporary. You have to.

And you have to work for a living. And, if you're a writer, you have to write. You don't have to publish, but you have to *write*.



And so. I entered my credentials for the expense system at work. All I'll need to do to start that item on my to-do list is hit "enter" when that bubbles up to the top of said list.

I sorted piles. I knew which pile is the easily-dispatched stuff, and I knew which pile I had to defer for today. It left me with a nice proportion of stuff I knew could be managed. I managed it. Printed nameplates. Scanned uploads. Scanned several small things to email to specific people. Deferred the items I'll have to scan and share around looking for who should see it. Laid out two FedExes. I'll enter credentials for that in the morning.

It sounds, perhaps, unbearably elementary, but it's just conscious inrementals I usually implement every day without the consciousness part:

What is routine is now something I have to think about, but that doesn't mean it's not advancing.



Inevitably, this is where I get all writerly and point out that it's the same for the WIP. Ooh, meta.

But it's true. Opening the doc can be a step, but of late it's not enough. One window amongst others can be ignored, so - having realized that research is my entry point - I squared off with the manuscript and found a piece of research I could manage. It is so vanishingly small it may seem silly: but, it was an image, already followed by the character description it inspired. I deleted the image.

That is work on a manuscript. Tiny work? Undoubtedly. But it is "in there", and "in" is where I wanted to be. Right?

This led me on to a more substantial idea, which might get very exciting indeed. The WIP having been born out of research for The Ax and the Vase, there are relics of that novel in this one. I put them in place in the years when WIP was related to Ax, even if it never was a "sequel" in my mind. And ... the stunningly obvious fact has at last pierced my callused brain, which is: that work is not relevant to this work.

My next step may be some deletions. If I ever feel the need to refer back to anything in Ax, I always have that manuscript available. But that may be absurd conjecture.

In the meantime: deletion is work. It is "in." I want to be in. So some extensive surgery could feel really good.

Leila: remember the time you got me to cut 60 pages out of Ax? I will think of you with a bloodthirsty smile as I get to slicing again.

The butterknife is a tool. Which can do a great deal, in the right hands (and when you know where to apply it).

It's pretty exciting.



I'm coming back to life. Not from death. Just from a long detour.

Thanks to Jeff and Leila, especially, for helping me find the path - and maybe lighting fires under my posterior.

Collection

Every now and then, Blogger stats provide an interesting rabbit hole, or at least a blast from the past. Today, I happened upon this referral link. This makes me smile bittersweet smiles - firstly, because I have not seen The Lady Herself in far, far too long. But also because she talks of our writing group, and a particular story prompt which has never left my brain. The story is above 3500 words, but I've never found a finish - though its ghost has teased me more than once over the years.

This is why my main/long-form writing is historicals. It's never so hard to find an ending! (Just titles.)

Yes, Donna, I am thinking of the conversation we had, where you have no problems with titles and I take years to find them!

(T)he legitimation of cruelty, prejudice, falsehood, and corruption is the kind of thing, one would think, that religious people were born to oppose, not bless.

It's not a short read, but it's *splendid* writing. As all the best writing is, it's open, intelligent, and honest in viewing shortcomings from the inside ... as well as the margins. Because those who were once in are out, in many ways, and no single outlook can be said to typify perhaps any label anymore.


OH NO, NOT MORE TBR. Both the paean and the lament of any reader, the song of More Yummy Delicious BOOKS. I must-must-must have After the Death of Ellen Keldberg, not least because it sounds like an awfully good book, but also because the cover is a grabber, and at the link above you will find some thoughts on its design. By way of The Caustic Cover Critic. "Enjoy the crocuses." Excellent advice.


Am I the only person who enjoys the heck out of a good scholarly argument? I choose "argument" over "debate" because one of the joys of This Theory versus That Theory is witnessing how partisan participants can be (and indulging the luxury of not having any interest in either side, thus being open to many arguments). Here we have a great example of the genre, in anthropology. Archaeological/anthropological arguments often provide the best enjoyment, because these disciplines after all tell the story of humanity, and we certainly do like talking about ourselves. This sort of thing, for me at least, provides great exercise in critical thinking, which happens to be one of my favorite things. And this particular argument, centering on a volcanic winter, touches on phenomena which actually come into play in my own WIP, wherein the plagues and climatic changes post-535 AD loom large in the plot. I don't actually, necessarily, fully buy into the Catastrophe theory. But it sure makes a good story.

Nothing Old is New Again

Some readers (and Reiders) are aware, I put away my first novel about two years ago. Not easy, at the time - and I am still grateful for those of you who were SO very supportive and sensitive and generous - but it has been the right thing to do. The possibility of a final revision and self publishing still exists, but my focus is decidedly fixed on the WIP, and that feels healthy and very good indeed.

Not long ago, someone online who is aware of The Ax and the Vase expressed interest in reading it. I sent it their way with thanks for the attention, and turned back to the WIP. It's not the first time this has happened, and the very first reader I ever had was very kind indeed.

This time, my reader began to offer questions and some feedback. It presented for me a terrible temptation, and I turned to my old first pages and found myself a rather cruel reader. The thing is dross, there are some pretty words, but I began to feel "OF COURSE THIS DRECK NEVER GOT PUBLISHED" and felt the urge, a rather strong urge, to tear into it again.



Happy endings: the moment was lust, passing and intemperate. I was drunk with self-critique and old dreams. But only drunk. I did hate what I read, enough to wish I hadn't sent it out to the second reader ... but his feedback has hushed, and my interest has quashed. Fortunately, without a hangover. I didn't drink deeply enough. (I didn't read deeply enough; it was that bad, really.)

The WIP is my One True Love, and I will not stray. Indeed, I didn't actually edit anything while I was under the influence, strong as the influence seemed in the moment.

It's a funny thing, a book's corpse - or its ghost. Very much like a bitter ex: there may be some allure, but in the end, most often, you look at the face of once-beloved, and think ... "What did I see in them?" Or a lost love: you remember, but the feeling is distant, like novocaine. Not quite real.

The Ax and the Vase is no longer entirely real for me, and that is both bizarre and necessary. As a writer, there's only so much energy, only so much focus - and monogamy is important for the way many of us need to work. Even pantsers (still not my favorite term, but it does  have its utility) probably tend more often than not to concentrate on one project, even if not in one area.


It occurs to me how often I referred to the WIP, after I discovered the subject and knew it would be my second novel - but before I had finished with Ax - as the thing I had on the backburner.

Ax isn't even on the backburner now. I know, too, what I want my third novel to be; but I am not contemplating it, and the research will be entirely new and separate; no cross-pollination anymore. There is nothing going on in my writing world right now but the WIP. Two long-comatose shorts exist, and now and then I peer at them momentarily. But neither one pulls focus, and neither has really grown in the period I've been working on the WIP.


It is, in its quiet way, gratifying to know how cleanly I've let go of Ax. Not killed it, nor forgotten it. Only the expedient: put it away. Self-publish? Or even some new route? Maybe someday.

But the interest, the intent, and the intensity: are all on the WIP. Invigorating!

Murder, I Wrote

I used the tag GREAT writing on this post, because sometimes writing *feels* great ... and you can just about believe your own work might be so, when that happens. Last week's momentum reached a bit of an apex in The Murder Scene ... wherein one of the main characters finds herself about to be burned alive, without touching the fires slowly cooking her life away. And it's as harrowing as it sounds.

Most writers know, reading our work out loud is important, and as I am ruled by rhythms (and a former theater major), I like doing this. It's hard to stifle the desire to read to anyone who makes the mistake of speaking with me on the phone, or coming over, and sometimes I fail. Such as Friday night, when I read the murder scene to my brother.

We both came away kind of shaking our heads. I realized that one key descriptor calls up the very birth scene which opens the novel (and the life of the woman about to meet her end). I wrote that birth scene maybe a decade ago; it was one of those backburner moments during research and side work on this WIP, while I was writing The Ax and the Vase, and I've never wanted to change it (yeah, you're not supposed to edit before you've even finished writing - for me, that "rule" is like typing; I self-correct as I go, you can't ask me not to do that, it is my way of doing things). My brother even approved of that callout; and I trust him as a critic. He's never been shy to criticize me! Heh.

But, yeah. Right now, it is all I can do not to post this scene here, and on my cube wall, maybe a couple billboards, and everywhere in the world.

This is what writing can feel like. It's been a long time since I attained this sense of accomplishment, and the way it followed on (Heaven help me) a THEME showing up uninvited - a theme which will work to create tension ... I mean, wow.

Yes, exquisite phrasing, is it not? "I mean, wow." Me writer. Me college gradual. Look, this is a blog, I'm allowed to save some of my best for the work meant for sale, right?

Few of us are at our most eloquent when things get truly exciting, but the excitement is real.

Picking and Choosing

Scenes come to me when they will. The term "pantser" doesn't appeal to me, but I am not an outlining writer, and the idea of composing a novel in order confounds me. I follow the research first, and the inspiration second. Usually because the latter doesn't precede the former, and I have a harder time capturing it.

Not long ago, I was working on that quiet moment, knowing what has got to come after it. The scene stands alone (though I do still need to get rid of that research-y bit about natron), but really there's no novel if anything does that. And so I must proceed.

Eventually.



I don't want to write the pogrom. And that is what follows, there.

Writing one of the first riotous, violent religious purges in the storied history of Christendom all but makes me long for a battle scene. And I hate writing battle scenes.

But even to contemplate this is so much worse. The only redemption before me is that I will not write from within the perspective of the murderers, the looters, the rapists, the cruel. But it is little consolation; knowing one is only surrounded by looting, rape, and killing doesn't take away the looting, rape, and killing.



So, today, I got back to the murder scene.

It's strange how preferable this is to writing the pogrom. It is smaller in scale, of course, and so I have more control, more ability to move through the mechanics of each moment - realization, sensation, progression.

It also takes place with a character who has come to a philosophical place of relinquishment. She's lost enough to eschew the rest, and life appears all but pointless by this moment. Losing everyone else was hard; losing herself, even painfully, may be a relief.

I've watched this relinquishment, of course. I've been witness to plaintive, righteous begging for death. It's hard, but great Christ do I understand it.

And so the crux of this murder is that it becomes manumission; the killers will free this woman, and she will accept escape at last, if only when she sees there is no other choice.


Thematically, of course, this links to my post from yesterday. So I had to go to this scene. (That is my excuse, and I'm sticking with it.) I had to find the sensations of the ground under her toes, the air down her throat, the sweat of her skin.

It's got me thinking of another death scene too. A character I can scarcely bear to see die, but who eventually must. A person can only live so long, and in the sixth century CE, even less than we tend to expect now.



When I emailed the manuscript to myself last night, as I do periodically as a kind of backup - the chronicle of my "versioning" (and progress) - I put a subject line on the email: "What good is this life edition" ...

There is an ancient religious philosophy - not only in Western schools of faith, but certainly predominant in Europe for centuries - that this life is a vale of tears, and the only existence worth contemplating is the eternal destination of the soul.

Think of Heaven. For kings and peasants alike, this was the mindset encouraged by so many aspects of so many ways of life.

Even as kings needs must strategize every single day.

Even as peasants must tend and bring in the harvest, the flock, the catch. Must learn how best this is done. Must feed the body, for letting it die - no matter how useless this life may be - was still a sin.



All these contradictions.

I'd rather write death than massacre.

Writing. Like everything else, it comes down to choices.

So. How's YOUR writing going?

Frisson

Something happened with the WIP today. Well, I should say, something happened with me - with my philosophy, my spirit, my self. And I turned to the WIP, and put several plug-ins to prompt myself to the theme, in different places.

Something happened with my writing.

How was your Thursday?

My Research is Showing - Excerpt

There are times you just have to write the scene that follows your research. It may not be an action scene; it may not quite be a character scene. And yet, it still propels things.

Re-reading a certain passage, I found myself wanting to share. Those who've read much of my curmudgeonliness know I'm not big on excerpt-ery, but I like this scene - precisely because of the research that (ahem) bore it.

Image: Wikipedia of course

It was a whole child, four-limbed, red, wrinkled, endearingly ugly. No deformities seemed present, and the mouth and ears and eyes were clear. Its cleft was clean and correct, its anus a perfect, pale pore. Zeniv placed the baby on a stone bench, and it protested lustily, screeching at the cold and indignity. She placed soft towels beneath the child and with two fingers pulled first at the child’s right arm, then its left, its right leg, then its left. The right side felt stronger; a good sign. Left-sidedness was suspect. When she held her finger before the face of the babe, its quaking arms gravitated inward toward it, but were unskilled yet to grab her fingertip. When she gently put the finger on its chin, its eyes widened a moment, and then closed. It was aware. It seemed to be healthy.

The placenta still hung off to one side, and Zeniv reached for the knife in a sinus of her apron, and cut the cord and placed the afterbirth in a bowl. She turned the babe onto her side and brought this near, squeezing the blood from her wound into the bowl as well. The child was a squalling protest, but so tiny she was easy to hold.

Twisting long fingers nimbly as she could while one hand held the infant safe, she looped a thread of wool around the stump, and tied as close as she could to the belly, pressing the protrusion back into what would become her navel.

Then to clean the child. Natron, the magic powder that preserved the dead in Egypt, was the same magic that brought the royal infant into the world. With this and the towel under the child, Zeniv softly chafed the body, the arms, the legs. In the crevices, she dipped a finger in olive oil and then in the powder, and cleaned where skin met skin. In its still-protesting mouth, she slipped the slightest bit of it across those all but translucent, toothless gums.

The baby gleamed. She was red—flesh and more flesh, from the inside of the mouth to the feet, still wrinkled and compressed from the long stay in the womb.

Last, and softest, clean, warm water. She held the infant to soak several moments, and with free fingers sloshed water over the shoulders, cradled its head and baptized the child with warm, soft water. All protesting abated; the water felt good to the child.

Still it was not complete. One last once-over, with close attention to cleaning out the openings, making sure breathing and elimination should be free. The infant princess wailed as if she were becoming tired, her arms finding direction as if to push Zeniv away. And yet they seemed also to begin to cling to her.

She put olive oil over the little swollen eyes, which closed readily enough and seemed almost ready to be peaceful, to rest. Her body moved only to emit its tiny, wheezing breaths as Zeniv completed the first ablutions with a wad of wool dipped in the olive oil, which she wrapped with a bandage around the belly to cover the baby’s navel.

Finally, the wheezing softening and the eyes closed and tight as beans, she swaddled the child and turned, at last to look to its mother.


***


I feel like it is a lot of detail, but also that it is a brief enough expositive scene it doesn't burden the flow overall. This is close to the top of a new chapter, and so is the pause before more action--action which becomes, essentially, the first pogrom in the history of Christendom. It needs to be this quiet, and it needs to be this brief before the heat, literally, builds outside the palace. (The main sentence that is probably too much scholarship is the one about Natron.)

Of course I would be extremely grateful if anyone has feedback or reactions.

Writerly

The WIP, currently being called Generations of Sunset, though this perhaps doesn't even qualify as a "working" title since it doesn't (*), is in fact still a thing.

I haven't had much to say about it of late, being distracted by such epochal life changes as a haircut, getting some cabinets for my kitchen, a sick puppy (who is fine now, she just gets an upset stomach now and then), a tiny travel plan or two, and the joy of watching someone I care about a lot falling for someone new. But I do still play around with WRITING.

For my writer pals who stop in here sometimes, I have a question. Have any of you ever given a character some trait that suits your purposes, more than necessarily follows reality?

I'm writing in a period when life expectancies were not what they are today. In The Ax and the Vase, the historical character Bishop Remigius of Rheims was extremely long-lived indeed, but this was true of the actual man, and indeed I used that longevity to speak to his charisma; that he was so venerable marked his holiness for the other characters. In GoS, though, I have a serving woman living a very long life.

It was perhaps easier for anyone, servitor or queen, to get in an extra decade or three, living at a royal court, as opposed to squalor or slavery outside of a palace.

Some people did of course live past thirty-five, even in the "Dark Ages" (well, or just before them). What I am doing, stretching this character across generations, isn't exactly fantasy. But the character's life is directly tied to my need of her presence in every place, at every birth, even through the deaths, through her time.

I don't ask other authors whether they've done this in order to get approval, but out of curiosity. Zeniv has to live a very long time because she is not merely important, but she views the coming of new generations, and is part of the setting, the changing world. She is one pair of eyes witnessing what may be a death (the dynasty of Theodoric the Great) or a birth (a new age, what we came to call the Dark Ages), or may just be the world as it is.

This doesn't quite rise - or sink - to the question of ethics in writerly choices, but I am curious about choices like this that other writers make.

Has any of you ever stretched the parameters of your setting, of history, or usual expectations to accommodate your needs for the story? How?


* As with so many things I think to be clever, the title is a bit of a pun. For many of us, sunset marks an ending - it is the end of the day. But we forget, that is only one way to look at things. Sunset is the beginning of the next day; your dreams are not a closing out of the day past, but the first thing in your mind before you wake to a new day.

Also, I Write

For my reader-readers, and my author readers, and anyone with an opinion to spare (it is, by the way, amazing to me how often it is possible to ask for opinions and not get them in blog world!), a question for you ...

If you were just geek enough to catch a nerd reference in a novel essentially unrelated to the genre of the geek-check, would it give you a grin that you were in with it, or would it throw you out of a story?

The reference in question title-puns a work by L. Sprague deCamp, Lest Darkness Fall. It's a seminal work in what has become known as alternative history, and happens to take place in the world (ish) of my WIP. This is the only commonality, but the fulcrum on which I wrote the line (it is the last of my novel, currently) is almost the fulcrum of the WIP itself, for me.

Everyone who reads here knows I am not a believer in The Dark Ages. I refuse to accept that the lights went out all over the world, as it were - pretty much ever. The very idea that any one age of humanity is actually any smarter (or dumber) than any other is not merely ridiculous, it's offensive to me.

So it came as a surprise to me when I found myself making the WIP about the dawning (dusking) of the Dark Ages.

As an author, I justify this by pointing to many excuses: "I am not an historian!" ... "This is a metaphor and doesn't have to answer to my IRL philosophy." ... "Blah blah blah 'redefining the term' blah blah blah."

I've actually even GIVEN the advice, "Follow your story" to other authors. But never thought I'd beget a story of my own that so directly contradicts my way of thinking. "There is no such thing as Barbarians/The Dark Ages/Whig history/human progress as a redemptive narrative OR degeneration" - oh and I'm about to write about the Dark Ages and make it a progression downward. I don't even believe in dynasty (please note, one of the most popular of these, the Tudors, lasted THREE lousy generations, kids) - and here I am writing about the end of one like it's a ... hey, a descent.

Dust had tamped the fire of the Great King, long in his cracked tomb and efficiently forgotten. There would be, there could be rest, and obscurity. The boy’s horizon had no sunrise. The man would walk alone, no burden but his own to carry.

Let darkness fall.

The major dramatic question is not so much "how will this ruling family survive - or die out?" it is "What is the point?"


de Camp's work was all about saving the world from the Dark Ages. Mine is about letting go and letting be. It's less a question of devolution, within the world and the pages of the novel, than of succumbing with grace to forces which have different meaning and priority over the course of generations.

THIS is human development: that the driving force of one person, or of one time, cannot sustain its power.

Is appropriating the *fear* "Oh dear, lest darkness fall" and overtaking it with a bit of Lord, it is Night resignation inappropriate and jokey (never mind the question of obscurity)? Does it betray a reader, or the story itself?



The fact is, the question is more intellectual than applicable. I don't expect this sentence to survive even one revision (with hope a more authentic ending will voice itself instead), and this isn't asked as a critique session. More an opportunity for philosophizing - on the appeal of "crossover" references. On the revulsion of smartassed irony. On callouts to external worlds.

On whatever aspect might interest you, reading this ...

Tesserae - or - In Democracy, You Don't Necessarily Have to Rewrite History ...

Image: Wikipedia (detail)

One of the reasons I love research is that, if you do it right, sometimes you learn a little bit more than "and then the Catholics enacted damnatio memoriae on Theodoric the Great, because he was Arian Christian."

In Ravenna, Italy, where Theodoric ruled and where most of my WIP takes place, is the Basilica of Sant'Apollinare Nuovo. Dedicated in 504 to Christ the Redeemer, it was his palace chapel. Theodoric subscribed to an early sect of Christianity known as Arianism, a non-trinitarian faith which was at the time of Theodoric and Clovis losing ground rapidly to a smaller, more obscure sect known as Catholicism.

After The Great King's death in 526, several political and religious (and yeah, same thing in many ways) forces combined to produce incalculable unexpected results.

Theodoric, who had spent his youth as a court hostage in Constantinople - honored, cared for, and almost undoubtedly educated by his captors, very definitely in favor with them and well liked by them - was rewritten by his own Ostrogothic nobility as an illiterate Barbarian. This picture of Theodoric the Great holds to this day in the popular imagination (so far as he's popularly remembered at all). Yet a cursory look at his career speaks to a different conclusion.

Also upon his death, the Catholic upsurge in Ravenna, Theodoric's seat as King of Italy, led to certain redecoration.

Look at the image above in another window, zoom a bit, let its details come clear. You will see a couple of disembodied hands.

The Church, taking over Christ the Redeemer when the king's palace chapel became the Catholic's basilica, made some edits to its mosaics and thematic decoration.

Theodoric's family were once framed in each arch showing in the mosaic above. His daughter, Amalasuntha, was one of the figures. Amalasuntha was one of those rare princesses who became a regnant queen - for a while. Theodoric had no sons, and she was his only legitimate offspring. Thus to her fell the responsibility for bearing a royal heir, which she did, but not to great effect. King Athalaric inherited as a child, apparently became dissolute in his youth, and died still under the regency of his mother.

Because I am a lying liar who lies ("writer"), at this point in drafting the manuscript (always note: with a WIP, anything I say and/or write is subject to change), the Catholic takeover of Redeemer, and their ascendancy, are accelerated a little. Not by multiple generations, but I pulled up the most likely time of their reconsecration of Redeemer, specifically, by roughly twenty-four years. Generally thought to have occurred in AD 560, I have it happening within about a decade of Theodoric's death.

The reason I pulled this piece of history into my historical fiction was to play parallels with the Ostrogoths' revisionist history of the Great King and the Catholics' damnatio memoriae of his dynasty, brief though that was.

The most striking thing about the latter events, in the symbol of those mosaics above, is the disembodied hands.

Imagine being the survivor of a dynasty that only survived three generations, looking up at the church your grandfather built, looking for the images of your family, your brother, your mother - and seeing only their maimed fingers or hands.

Irresistible scene, of course. I had to envision that.

But the reason those hands are most interesting is not the absence of everything else. It is their presence.

I've used the phrase damnatio memoriae - and, for the Romans and many other cultures throughout the world and through human history, destroying someone's name, removing them from the history books as it were, was a powerful tool. To be sure, we still remember those whose names have been stricken out. But that's not the point of a DM, not really.

The point of striking out a name is not to pretend "so and so never existed" ... but to point TO their existence, and to highlight the obliteration of anything so and so ever accomplished.

The disembodied hands are not an error, an incomplete obscurement of a vanquished opponent.

They are the reminder of the vanquishing.

We have erased something here, the images said. We have the power to remove—but we want to remind those we have supplanted.Damnatio memoriae was no obliteration. It was a reminder. This has been done, and we have undone.
--excerpt from the WIP

Possibly the deepest root of my patriotism lies in the pride I feel not only in voting, but in witnessing the peaceful transfer of power in the United States. I've participated for 30 years now as an active citizen, and watched this process for about forty-five. I remember Jimmy Carter's election, Reagan's - I remember Watergate, and the echoing word, "impeachment."

I remember the giddy sensation of watching the 2000 election, the fear then, the outrage. I don't expect to forget 2016 without illegal amounts of chemical intervention or outright dementia, neither of which appeals.

The new administration will do some amount of damnatio memoriae as it finds its way. ACA is on the block; many people's futures seem to be as well.

The American DM will not be a revision of history, it will be a change of what is envisioned.

Small Days

For me, sometimes writing is less about getting words out of my brain or even researching than it is a period of exploring what's already on the pages, to look around different places in the manuscript, to throw a little polish and elbow grease into a rough edge or two, to find out whether there is anything I can delete.

These days are a pleasure for me, because even if it's not a "Wow, I wrote 8,000 words today!" accomplishment (in my life, I have never contemplated my word count by the day; though I have at least watched the total count on a manuscript), there is gratification in taking a walking tour, as it were. Yesterday, I read a passage to check the "your research is showing" quotient on it, and found myself loving the scene. I'm not sure I tweaked it at all.

Today, it's been making sure "I covered that." It's one of those can-I-delete-this-placeholder-infodump runs, which are sometimes tricky because: rabbit holes in abundance. But they can be really good runs, these romps across the manuscript.

And enticing, too. Enticed to and/or BY my own work? Heck yes. Yesterday, I looked in on the scene of the old midwife cleaning a newborn and evaluating the child's viability - the sort of scene that skirts the "your research is showing" issue all too closely, oftentimes. But as I read, I saw the light, felt the warmth of the quiet room, could sense the infantile quaking of the newly emerged life, her "eyes still closed and tight as beans", swaddling her for the first time, "at last to look at its mother." The detail, to me, right now, feels more tactile than "lookit what I researched, cool huh?"

We'll see, once I get as far as beta readers.  But for now, my own nascent, quaking little baby of a manuscript ... it looks viable.

Now I gotta clean it up.

Image: Google Labeled for reuse image search
By: peagreengirl

Time and Chance (Neither Sharon K Penman nor Ecclesiastes)

It is perhaps not the sort of admission a writer should make; but more, I suspect, than would like to admit it may find what I'm about to post familiar ...

The WIP began, as many know, as an inspiration early in the research for The Ax and the Vase. I was fairly successful, during my work on Ax, in keeping the WIP on the backburner - not using it to distract myself from frustrations with the first novel - and not letting it steal me away on its own impetus either.

And so, the WIP has been in gestation for something like thirteen or fourteen years now.

It was brought to the front burner a year and a half ago or so, but this summer I have allowed the demands of work and life and other such silliness as that to keep me from dedicated writing.



Now and then, when we're not really working on them, writers do at least pull OUT our work (or pull it up, as on electronic devices). We look at it, we pat it on its evil/cute little plot-bunnied head, we expect it to speak, and often it fails to. For all works of creative writing have a habit of acting on their own, especially individual characters, running off and doing things we had no idea were in them, creating unexpected continuity issues to resolve - they have an even crueller tendency NOT to do this when we sit and look at them, bereft of active ideas or plans.

WIPs, when you pull them out and expect them to develop themselves, will stare you down like sullen teenagers. Mute, un-forthcoming, inert.

And so, it was a surprise to me, today, when the sullen thing spoke to me.

I pulled it up just now. Peered at it a bit. Scrolled to the end, because I don't really know where it needs to end, or why it seems to end so far beyond where it begins.

I would be hard-pressed, in short, to tell an agent honestly "what is the crisis here, what needs resolving?"

As a historical fiction author, I am inordinately attached to the idea that telling the stories of history itself is important, worthy, fascinating. But where the fascination lies, I seem to be very poor at defining. Why tell it? Um. It's cool. See? Where the king goes Catholic, instead of Arian, and the entire future of Christendom - and Western Europe - is decided? Neat, hm?



Ya gotta have an MDQ. History is great, but a story isn't just the litany events leading from point A to point B, where there's a new chapter or we lose interest.

And I had no idea why my WIP was going on into three generations of women I think are each a study in contrasts, and whose lives deserve to be shared. Three is a great storytelling trope, but why was I going into character #1's mom and daughter, when it was #1 who drew me initially? What has it been, all this time, telling me that mom is necessary, that we can't stop without daughter, that #1 should *not* stand alone ... ?

And what is the title of this thing?

Titles are hard. And hard-won. Authors can be extremely attached to a title, emotionally vulnerable to the idea of changing one. They're harder to write than poems, perhaps. Or they ARE poems, perhaps.



So today, scrolling to the end, and then back to the beginning, when I caught sight of that moment when the character has just opened up our action by giving birth to #1, and she realizes she has not born a son ... one phrase caught my eye.

Time for posterity later.

But; there is no later.

And that was when it clicked.

What I am writing about - and THIS, I have known for a long time, is the events that lead us into that period so many historians used to call (and, gallingly, most of the regular populace still call) The Dark Ages.

I'm writing about dissolution.

I'm writing about the end of a dynasty, not only from the point of view of #1, the child who had the wrong genital equipment, but also from the point of view of #2 - a character more vivid than 1's mother and her daughter - the freedwoman who literally births the END of the dynasty; the midwife who, perhaps, has her hands not only on the labours of her noblewomen, but on the pangs of a new era emerging.

That part came just now, just writing that paragraph. Exciting stuff; bear witness, y'all.

So the working title (and I feel it perhaps bears the wrong tone; so this too may pass) has become, Time for Posterity.

And the question is: how does it end?

How does a dynasty end? How does an era end? How does darkness begin? (Do I even believe there was an age of darkness appropriately to be named The Dark Ages - well, no - but it makes a hell of a story, and it's been sucking at me like a vortex for thirteen years, I realize.)



So, yaaaayyyy!

I'm about to become the AUTHOR of the Dark Ages, and I don't even believe in them!

Neato-spedito, as my brother used to say.

Work and The Wrong Work

The past three weeks at my job have been busy, productive, and VERY gratifying. I've made great progress on our annual meeting, onboarded a long-awaited exec in the area of my department for which I provide the most support (and I like him!), and finally begun denting a digital organizational nightmare for that department, which is going to a satisfying accomplishment when it is done.

That last one took up a decent part of my day today. Shew, tedious. Not fun, like being ahead of the game on the meeting, and knowing what I'm doing. Or exciting, like meeting someone who looks to be eager to tackle the work I've been trying to get my arms around for a year now.

But I gave it a run for its money today. So.



Oh, and the other part of this post. "The Wrong Work" - what'd she mean by *that*??

Ahem.

Y'all know what a plot bunny is?

Do you ever find a work  you've deliberately planned can be a plot bunny?

It's a funny thing. I'm actually little prone to chasing story ideas around; I seem not to be very promiscuous when it comes to subjects to write about.

All those years ago - when I attended my first JRW Conference with my brother - when I first entertained the delusion I could be an author - when I found, not long after, Clovis I ... Well, not long after *that*, I found a related subject, which is the WIP now.

And I also happened to work on that family history.

And I knew the third novel was going to be that story.

That story has not distracted me, through these years. I still assume it'll be my third novel, in the way you assume the sun will come up in the east. You don't think about it much, but you count on it anyway.



So.

Guess why I'm asking y'all about plot bunnies. Thoughts?

... Telling Me Something?

Sometimes, it's hard not to think Janet Reid, with her familiarity with her own community of writers (not clients), is trying to tell us something personal ... Such is both the ego and the insecurity of a fretful writer Woodland Creature.

In this week's week-in-review post, she quoted me ...


DLM said
But there seems really to be no "middle class" in traditional publishing now. You can't be *dependable*: you have to be a breakout, and - never mind the pressure, it's just a matter of numbers, and the numbers dictate, we simply cannot all be The Next Big Thing.

JANET said
We call it mid-list but you're right. It's like the Army; you can't spend five years in the same rank or your career is pretty much over. Get promoted or get out. Like baseball: you can play on the farm teams for a while, but either move up, or hang up your glove.

Publishing is not the only place this up or out pattern applies.  But it only applies to COMMERCIAL publishing.  You can publish and sell your own work forever. That's one of the many great things about the electronic marketplace: it's easy to access and it actually works. I'm not saying it's easy to self-publish (well, it is, but let's assume I mean self-publishing well here) but that the barriers to buyers are much diminished from where they were 20 years ago.


I think she's seen enough of my comments at her own blog contemplating commercial (what I've been calling traditional, which she rightly calls commercial - augh, and now to fix my tags ...) publishing versus self-pub, and certainly she knows my writing, for my interpretation that she's Telling Me Something - or, at least, agreeing with my self-evaluation - not to be completely out of hand.

And even if it is, at the end of the day, she's neither my agent nor my ultimate guide; just a kind reader - and a professional - along the way I am taking.

So whether she meant "anything" or not ... the upshot is the same. I don't know that I want to hold out for the big leagues. I sure know I don't want to be in the military ...

And, really, right now, what I OUGHT to be worrying about is the WIP.

The Most Incredible Pen I Ever Met

Life's too short not to use the good pen.

Being a writer, every now and then someone gives me A Nice Pen.

I have a whopper of a colorful mother-of-pearl pen that was my first "because you are a writer" pen, given by a friend several jobs ago when I had to leave that much-beloved employer. It weighs something on the order of a pound or so, and its diameter is enormous, but it's a great-writing instrument. I love it most because of its provenance, but it's a lovely thing just to look at and great for a flourishing signature.

My current job brought a boxed set my way, a pen and pencil set in graphite casing, just beautiful.

Another friend gave me a pen hand-lathed by her own son; a slender, curvaceous number I favor frequently because it is beautifully weighted. This pen goes with me everywhere, in whatever purse I happen to be carrying.

The James River Writers conference has been a source of good pens as well.

One of the best pens they've had in the swag bag for a couple or three years happens to come from a sponsor semi descended from, or step-related to, the employer I had to leave so regretfully at the time I received the MOP pen mentioned above. It gives me a wry smile, because those who've stayed on through this generation of that employer have not universally been thrilled with the evolution, but they are people I still respect immensely, and miss.

JRW is also a great source for some of the best cheap pens I've ever had. Another sponsor provides snappy little lightweights that also have a great curve appeal, and they often come in nice colors you can find in the drawer. Some of these have lasted as long as the ten-plus years for which I've been attending JRW events.

Easily the most astonishing pen, if we may call it such, is the highlighter with which I do my hard-copy research.

This is a highlighter.

It was bought in a set of four colors.

In 1982.


To steal a phrase from the most intense aunt in my family: I kid you not.


This highlighter was born in the age of pin-dot printing, when static was something we concerned ourselves with, or, at least, the marketing dudes of the day did. When this FONT was cool-oh and futuristic looking. It came with blue, green, and yellow companions - the yellow long since used up, the blue still gasping 35 years on, and the green perhaps lost in time.

The pink highlighter works. It's fresh as a daisy, and has that satisfyingly firm tip that feeds its ink with a waxy smoothness that is gratifyingly dependable.

I didn't save this beast for special occasions. For decades, it lived with my mom. She cleaned out a desk, decades *ago* now, and I inherited it, and its mates. There was little reason to use it, but no pressing reason to toss it, and the thing has aged quietly for all this time.

It's probably more than twice the age of my eighteen-year-old niece. It has outlasted countless personal computers, fashions, even automobiles. Five of those, in fact. Individually, it may have cost a quarter or so - perhaps more, if we splurged on a princely tool for modern computer highlighting work! - but investment-wise, is has outperformed any conceivable commodity in any market in any corner of, perhaps, the entire universe itself.

And it shows no sign of giving up. It doesn't even show its age, though the design is perhaps amusingly quaint.

Pink has, since my earliest research on The Ax and the Vase, been the color for highlighting research for the WIP. I found the subject of the WIP early on in working on Ax, and so I used pink to differentiate it from the drab old yellow I was using to work on reading for Ax.

I used this highlighter. There have been one or two other pink ones, in a pinch, but those (!!!) died. Quickly.

This workhorse, though, lives on. And on.

I have a silly and affectionate idea it may see me through work on the WIP, and finally give up its hardy ghost, fulfilled at long last, the methuselah pen, the ancient markiner, the oldest highlighter known to man.

If not, I plan to leave it to the younger niece - also a writer.

In the meantime, it is working for me. And I am, quietly, but consistently, amazed by the little thing. It has such ... life.



What is your best or most beloved or oddest pen?

"WIP"

This morning, in a discussion at Janet Reid's blog, Donna Everhart pointed to a post at Rachelle Gardner's blog, which got me poking around there, and I found an exercise I'd love to try with Kristi and Leila in a few weeks. We're planning a writing mini-retreat, a few hours of time just to parallel play, undistracted except for the helpful tips of Gossamer the Editor Cat and Penelope the Publishing Pup and perhaps some tea and coffee, then spending a little time sharing or working out a snag or whatever comes up while we're writing.

Some know, but I have not blogged about it much, that my WIP was actually conceived very early in the writing stages of The Ax and the Vase.

In no way a sequel (and thank Maud, given that Ax has been put on hiatus), the WIP is about a relation of Clovis I. It takes place in a different world, and centers on a wider cast, and a diverse one. But I found the inspiration early in the going with Ax ... and so the WIP has been around for many years.

For a long time, I might pop over from my "real" work to this WIP, an unformed plan/idea resolutely left on a backburner, but I refused all temptation to hop after it and let it become an actual Plot Bunny. I would plug in research that did not fit in with Ax, but not allow myself to *work* on it in earnest.

And then work began in earnest, this past spring.


In short: the WIP has been with me for a long, long time.


And it has never had a title.

It took years for me to realize The Ax and the Vase kind of had to have that title. When it came to me, I felt almost like a moron, because, DUH, that had to be it. I was open to being told it could not survive, but I was also really skeptical anything else would work so well.


I want to have that "duh" moment now, for the WIP.

Poor thing, it deserves a title. It has been my focus now for long enough, calling it "WIP" seems dismissive at this point.


Also, I am excited to get together with Kristi and Leila.

Also, I Write

Sometimes, you just have to pull the trigger.

The thing about writing is, once you pull the trigger, you can edit the gun out entirely.



Researching historical fiction set in Late Antiquity has some tricky bits attached. Scholars love writing about Rome, and though, say, the world of Theodoric the Great gets attention along the way, the details about his furniture and sleeping habits - and, say, the schooling of his daughter - are less attended upon. Ironic given these are royals and all.

So, you go in for, say, an attempt to name a slave in the royal household at Ravenna, and you get all sorts of information: about Rome. Very quickly, you begin to note that highly similar tidbits repeat in different sources, none of them *quite* addressing exactly what you need, and yet all of them reflecting one another. This alone can be instructive, even if it's not to the point you wanted to drive to.

Many later Roman slave names were Greek. Not all of the holders of these names were Greek, by, apparently, a long enough shot to mention it.

Slaves' origins were a noted point in buying or assigning them. There were stereotypes of Egyptian and Briton slaves, there were expectations about types of work and types of workers. The concept of "wish-names" - slave names indicating desirable traits or accomplishments - is especially intriguing. "Hedone" is a poignantly telling sobriquet for a woman available for sale.

And then your question becomes: how much does this Roman research apply to my only semi-Roman setting?

How much can I USE, when discussion of place-settings (guitarists please note, this anachronism is an intentional joke) and sleeping habits for the Ostrogoths is less than ubiquitous?

And then the question becomes: how long before I stop thinking about the guitarists, trust myself and my research, and focus on the story ... ?


Research is a wonderful way not to write, sometimes. It's a great excuse, believing "I have to get it right, before I write."

And it's so easy to forget: anything I write, I can edit. The fat lady doesn't sing until you have a contract; even at the query stage, you are still allowed to correct yourself, if you find you actually did write a firearm into a scene starring Theodoric the Great's only daughter, in the year 535. Even when you have an agent - if you're lucky and open to it, an editorial one - the book's not done until the publisher sticks a fork in and it's tender.


Sometimes, you have to pull the trigger.

And WRITE.



I've been writing. How about you?