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The first timid waters of a creek..

 
 
kowalski
14:40 / 03.10.05
Background: A girl has put it into my head that I should write a novel, and I am making my first timid strides at doing just that. My problem has always been coming up with characters and actual plot and growth (concepts and vignettes are a dime a dozen in my head), so I'm writing this completely out of order and basically trying to work out what I want to happen and what I want to say as I write coherent scenes and narrative. Which may or may not be a good thing in the end, but right now it's the only way I have to work on it.

Keys: Toronto, near-future, collapse of the sprawl city, psychogeography, city magic.

So anyway, if anyone's interested, below I will post excerpts of what I have so far.
 
 
kowalski
14:41 / 03.10.05
I was born on a night when midnight rose from its dark fire and swallowed up the moon, its lips sliding across the lunar surface as they would the silver curvature of a teaspoon until there was only the crimson shadow of the elder creature's gullet. Standing in shadows glowing black like the undersides of blankets strung over beds and bodies in northern cabins, the plants around me ashen, still, leaves craning skyward in awestruck alarm, the nocturnal sounds of the sprawl were struck dead from the air and I watched the frigid, cosmic feast in absolute silence.

I say born, of course, in the sense of an awakening, a stirring of something deep within me that had yet to be fathomed, that had yet to draw its hands across my heart and mind, to find secret entrances for whose existence I was completely unprepared for, to pull open the gates and loose upon my being a million different shades to which I had been blind. I was in fact born some twenty years before that in a hospital on the shores of a suburb whose name has now ceased to be. This time I did not scream until much later, too absorbed in watching a stranger's glowing face recede from a world smelling of Norway Maple and the damp carpeting of last year's fall. Months and years later I would cry and crumble in fetal devastation, but for now I was a shivering witness, dumb in the mid-ground of a stand of broad-leafed invaders, watching the silver whorl's slow ingestion.

I held my breath and waited for a sound, a quake, a gathering of animals to dash past me in existential panic, the crash of trees and sky and neighbouring highway overpasses collapsing, concrete shrapnel sawing into dark asphalt and left embedded there like shark teeth caught in wounds that would wait to bleed until shone upon by the next day's sun, the chaotic gurgle of a creek reversing itself, flowing upstream towards its source, backing up the aqueducts from which it would emerge to flow across the tollway and drown jackknifed behemoths of petrol and steel. I waited for albatrosses and condors to descend from secret heights and scream a final warning to this landscape. I waited for a crack, a rumble, a hiss or creak or sudden shiver of the air so violent and surprised as to be rendered audible.

There was only the absence of crickets.

There was only the air held jacketed, restrained.

The whole world trapped in one of those moments when she, later, would look at me but could say nothing. A silence of great canyons, of glacial fissures and deepwater trenches, of watching from a distance the gorging of scavengers upon a carcass.

I held my breath until my lungs hung as close to asphyxiation as the rest of the universe, and then I held it a little longer. My vision grew threadbare, my mouth cottoned and spasmed, and then the silence was brushed away by the sound of a thousand pairs of curtains drawn open in unison, unveiling secret windows on quasars and pulsars and alpine meadows strung with fluttering butterflies somewhere out in the depths of pangalactic space. The reedy trees shivered involuntarily and looked about them as if unsure whether our jury had witnessed a real revolution of the cosmos or simply a dream of arbor and starlight. Something small and avian called out from the viscous darkness; it received no reply but the tenor of its own voice must have served as reassurance enough as it made no further sound. I looked up again and in a space of startled time that had seemed no longer than a few seconds the night's great maw had withdrawn and the moon shone again, not so much triumphant as renewed, warmer than it was before, its glow more assured despite the shattered confidence of the glade in which I stood.

I was born and I hardly understood but I sang in communion with trees and streams and small nocturnal animals and waited for purpose, for the big reveal, for this shifting tide to carve a new beach and bring up upon it a thing to fight and strive and grow further for. I stood under power lines and I pressed the boundaries of the declining sprawl lands and I walked into walls and cars and doors I should have kept clear of. And then finally, under another magic sky, this one overlooking a day shattered and bloody, someone took my hand and led me in.
 
 
kowalski
14:43 / 03.10.05
second excerpt, much later

And now again we’re running, hawk’s breath rising off the snow’s panting gasps as we plow through shin-deep hollows along the riverbank, weaving to avoid the gatherings of burdock and thistle that stand to grasp and scratch us as we pass. Samantha’s hair seethes and writhes like frantic vipers under the mongoose’s deadly pounce, but as yet still we run and do not stand our ground against the thunder of the floatship circling in the darkness. The polymer craft’s searchlights probe the treeline of the ridge above and to our rear where we tumbled down soft and silent between the poplars. Round and round it flies its racetrack pattern, dumb and furious, determined to pin us up on the rise where the angles will be better for the cinematics of our capture. The red, unblinking eyes of the news choppers are already charting their straight lines north across the sash of sky that falls between the walls of the ravine and tugs us onward through unmoving air.

The surface of the creek is frozen, though here and there the slumbering god beneath has licked his lips and let his warm slobber run across the ice to stain its surface and check that the diamond sea of cosmos still glitters through the winter night. The writings of rabbit, squirrel and fox are traced on solid, powdery paths across the water, their hungers and dreamings recorded in inverted Braille to be read by the blindfolded currents below. Everything is quiet, hiding from the roar of the vengeful predator behind us and the machine gun chatter of our feet as they shatter the egg shell crust of sunsweat frozen across the valley’s snow white skin. The land watches our desperate passage with detachment brought with the chill of frigid nights, unready yet to assist or intersect our escape. With every crunching stride we hammer on the door but as yet nothing of water or earth rouses itself to let us in.

There is a shift and rise in the clamour of the pursuit craft as it abandons the suggestion that we remain hidden in the brush atop the western ridge. Its searchlight ripples across the scrub floodplain, spreading its xenon fingers through the dried grasses and young trees, rolling up and down the slopes to either side, caressing the landscape seductively, bidding her to betray us.

The floatship has its own thermal eyes to complement the green-soaked nightvision of its pilots, and when it gets close enough we will stand out as summer rockets against the frozen ground, the sensors seeing through our rough and tumble clothes to the quivering fires underneath. The roar of its maneuvering rotors collects in the ravine, amplified and running across itself as if hung up and delayed in the bare, Carolinian limbs of trees friendly to our plight. Sweat prickles and stings beneath my jacket; my lungs burn and heave, rejecting the arctic air they’re being made to swallow in panicked gasps. Samantha stumbles over unseen debris, regains her stride, glances back to me with wide, fearful eyes.

“How much further!?”

“I don’t know!”

Behind the apartment towers that rise above the trees on either side of us there are sirens wailing, waking the neighbourhoods through thick double panes of winterglass. There is a worse answer to her question. There is no further, there is no diminishing distance separating us from our escape. I know that we are not racing towards a known destination – all that’s known to me of the way before us is that it is a great dark worm writhing through the urban tundra until it twists around to drown in the Humber River just above the fossil shoreline of an ancient inland sea. There are roads and paths that breach this space, there are undoubtedly backdoors and secret routes to other places hidden in the brush and shadow and snow. My eyes flit about the low escarpments that channel us southward, grasping at every scar, searching for strange hollows or covert gleamings that might set us free, but our flight is too hurried and harried to discover such relief on our own.

Our boots pound the ground, leaving agate mouths glittering crystalline and priceless, we heave and cough and clear our tightening throats, we clatter out an S.O.S. on the frosty telegraph key beneath our feet, and still there is no answer. The dreadful machine is almost on top of us.
 
 
Alex's Grandma
05:20 / 04.10.05
My grandson used to write prose that was a little bit like this, and now he is in rehab. I'm not saying the two things are necessarily connected, but then again...

More seriously, if you are fairly sure that your 'weaknesses' are plot, characterisation, etc, then it might be an idea have a look at those first, to write down a two or three page synopsis of what's going to happen, and to who, and where, and why. I'm guessing you'll find that this is a bit easier than you think, once you've made yourself do it.

I imagine you're quite young though (I am 75,) so I wouldn't worry about it particularly - it's just that you might save yourself a lot of time and effort if you skip through the 'experimental' stage in your writing as quickly as possible. One way of doing this is to ask yourself, honestly, how you'd feel about reading your work out in front of a room full of strangers. Would they be gripped? Would they be laughing? Would they be doing that at you, or with you? That kind of thing.

I'm paraphrasing him slightly, but William Burroughs once said that if you've written a piece of prose that you, personally, think is terrific, impassioned and so on as you're finishing up, then the best thing to do is just put it in the bin.

Not to denigrate your efforts though, Mr K, I don't think you're necessarily wasting your time - Does the world, do you think, really need another book about the sprawl, city magick, etc, well it's your call and so on, but what, specifically, would you be adding to the genre, if it does? Eh?

However, as far as this girl goes, I think if you just tell her you're writing a book, rather than showing her, as it were, at least at this stage anyway, then that can work wonders. I'm an old woman now, but some things don't change much, you can take it from me.

Doing keep writing though - I'm staring death in the face, but I wish you all the best.

xx

Grandma
 
 
kowalski
06:20 / 04.10.05
Well, I wouldn't really describe how I'm approaching this at the moment as being experimental, so much as simply backwards. I'm writing in this way because at the moment I can't sit down and write a 2-3 page plot synopsis, because I honestly don't know what I want the actual surface plot to be. Since my starting point is descriptive narrative, it makes sense in my questionable creative circumstances to discover what it is I'd like to have happen through the process of writing the vignettes that I am coming up with until such time as the thing reaches critical mass and I can write the rest of it in a more visioned and planned manner. Brainstorming in 2-3 hour chunks of full-depth prose narrative, because that's what I enjoy.

Maybe the shops over there in England are full of geospiritual romps, but I've not run into much of this nature, certainly not enough to suggest to me I'm headed up a tired road. I'm no active practitioner of your magic-with-a-'k' and am not aiming here to write about spells and concrete gods and other formal magic(k). I'm writing a liminal urban world through a lens of non-ascetic, organic spiritualism that values an imaginative expansion of the bounds, possibilities and sentience of the material environment around us. And despite the near-future scifi background fuzz and brushes of something more than real here and there, I'd peg my intentions as being much more in the vein of someone like Ondaatje than of Gaiman or Moore or whoever you're thinking of when you're asking me "if the world needs another dot dot dot." There is definitely a story in this that I'm really interested in telling, even if I don't have a full handle on what exactly that is yet.

Thanks though, I appreciate your taking your time to read and remark on it.
 
 
ONLY NICE THINGS
07:57 / 04.10.05
Will come back to this fascinating discussion on how to put together a novel ASAP. On mechanics - something I often find useful is to pull the similes out of a pasage and read them over away from their narrative setting.
 
 
Sax
11:04 / 04.10.05
You can certainly write, Kowalski, but then you probably knew that. Whether you've got the makings of a novel here or simply an exercise in wordplay, you're going to have to decide.

I'm not sure if the first excerpt is meant to be the opening of the novel, but if it is, you may have a problem in hooking people.

This: I was born on a night when midnight rose from its dark fire and swallowed up the moon, its lips sliding across the lunar surface as they would the silver curvature of a teaspoon until there was only the crimson shadow of the elder creature's gullet. is very pretty, but what exactly does it all mean? Lips sliding over a teaspoon I can grasp, but what elder creature are we talking about? And do gullets cast shadows? I think you might be stuffing your prose with a few too many ideas... be careful you don't leave your reader exhausted and trying to work out what exactly is going on. Mystifying and tempting your reader is fine; pissing them off is not. Your writing should be carrying the reader - and the plot - along, they shouldn't be fighting against your writing style, no matter how pretty it is. Does that make any sense.

I haven't read your second excerpt too deeply yet, but what did grab me from a quick skim was the use of exclamation marks in successive quotes... ask yourself, are they necessary? Shouldn't the reader get the idea of urgency/anger/whatever from the situation and your characters, without having to bang them over the head with tabloid punctuation? And exclamation marks AND question marks together... no.

Your premise - near-future, collapse of sprawl yaddah yaddah yaddah - is an attractive one and, despite what my favourite pensioner says up-thread, yes, the world probably does need another story like this, if it's well told.

The thing is, if you're just going to string together a selection of pretty passages without a cohesive plot and some bloody good characterisation then a novel it ain't.

More later.
 
 
Alex's Grandma
13:13 / 04.10.05
At the moment I can't sit down and write a 2-3 page synopsis

Oh come on now dear, 'can't' was killed in the war, surely? My grandson said that he 'couldn't' come off the smack, but honestly, you should look at him now. Well, or perhaps not just yet, he can't really see anyone, just at the moment. The look on his face when they came and took him away though dear, the people from the intervention, it was priceless, I can tell you. And though it's not cheap either, keeping him there - 'Son, I keep on saying to him, but it's not your will is it, lovey? It's the smack's,' I do think it's worth it. Anyway, never mind about an old woman's personal problems. Though isn't it ironic that here I am at my advanced age with a power of attorney over his legal affairs, while my grandson's raving away in a nice, secure hospital about how it's all a conspiracy, and he's perfectly all right. And he is being a silly - how would an old woman like me even know what 'smack' was, never mind how to plant it in one of his cigarettes, and then phone up his work and anonymously suggest that they do one of those drug tests? They're not likely to let him out soon if he carries on like that, are they?

Anyway, where was I? Oh yes. Well I don't mean to repeat myself, I said I don't mean to repeat myself, but my point is, it wouldn't necessarily have to be a detailed synopsis. Even just notes, or a few ideas about where your story is heading, characters, setting, what's at stake and so on, might help you along. And they wouldn't, your notes, really have to something you stuck to, of course. Like my grandsons various legal affairs, they could be subject to sudden and unexpected changes, as time went by.
 
 
Tryphena Absent
14:22 / 04.10.05
I am going to be far more sharp with you than everyone else...

I held my breath and waited for a sound, a quake, a gathering of animals to dash past me in existential panic, the crash of trees and sky and neighbouring highway overpasses collapsing, concrete shrapnel sawing into dark asphalt and left embedded there like shark teeth caught in wounds that would wait to bleed until shone upon by the next day's sun, the chaotic gurgle of a creek reversing itself, flowing upstream towards its source, backing up the aqueducts from which it would emerge to flow across the tollway and drown jackknifed behemoths of petrol and steel.

WHERE did you put your full stops? In the toilet bowl? My advice is selfeditselfeditselfedit.
 
 
Tryphena Absent
14:24 / 04.10.05
And I wouldn't bother with the notes if you've got the personalities and the full stops or even a vague idea of what you want it to be. Notes only get amended anyway, it's just Granny's way to work out the mechanics of a potential novel and we all do that differently.
 
 
Whisky Priestess
15:42 / 04.10.05
I agree with Nina completely re: your full stops , Kowalski. Good command of language, grammar,punctuation etc. is absolutely not the same thing as good writing, but it's a bloody good start.

As a lady and a writer (although not an American - I am only really saying this because a) it's true and b) for the sake of terrible puns everywhere) - I tell you:

Periods are not optional!
 
 
Alex's Grandma
17:09 / 04.10.05
Oh for shame, the pair of you. Have neither of you ever read 'On The Road'? I read that novel when it first came out, and the... well the things that are mentioned above were as conspicuous by their absence then, in Jack Kerouac's prose, as they have been latterly, in my autumnal years.
 
 
Whisky Priestess
16:30 / 05.10.05
Is Kowalski's writing above, in your opinion, of a similar quality to Kerouac's, Grandma?

Because I suppose then I could forgive hir breaking the rules. If it was for a good reason and ze was a certified genius, I mean. (I'd need to see hir Genius membership card first, though. That's how the Punctuation Police works.)
 
 
Ria
04:01 / 10.10.05
Kowalski, I say finish the book, then go ask for advice.

too much advice too early can ruin it.

just read as widely and as often as you can and try to incorporate what works. eventually get to know the rules so well you can abide by them, bend them or break them as you will.

and for the record I believe in molding prose style to fit the needs of the story so if you want to put in stops (periods, commas) put them in or if not, don't do it.
 
 
Ria
04:09 / 10.10.05
also, these excerpts impress me. many published writers cannot write prose of this quality.

short stories might make for a laboratory for you to work out your writing while work on the larger work, too, so as to develop your skills a bit.
 
  
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