Sunday, April 22, 2012

Short Story - Blood Promise




April:

These are the fruits of promises made. They bear the weight – so firm, feel it – of sworn oaths and crossed hearts.

At dusk they flourish, growing ripe and heavy and hot, like a new-born baby. They grow off spindly branches, half withered, amidst weeds and lone bushes, out of sight.  Come sunset, it would be easy to pluck them. Warm as skin and heavy as a pheasant, yet only the size of a human palm, they snap clean off the branches without so much as a rustle.

You would be surprised at how many there are. It often takes me the whole night to pick my fill, and then some. People make promises too easily. And not too many last, which I am happy with, seeing as how I have no use for the un-spoilt fruits.

The bad ones, you see, are the best kind. The kind that you can gorge on, all the pleasure minus the guilt. Just one fruit alone, as big as a persimmon, could fill you up so you could barely move.

The beginning of the year is the best time for harvest. New Year resolutions, fresh starts and blank slates, all of them waiting to be broken and sullied. Unfortunately, that is also the time when competition is the toughest.

We are scavengers. Parasites, if you must. Names don’t bother me; I see it as Darwinism. We do what we must to survive, though there are those who think we don’t deserve to exist.

Every broken promise costs you your blood, whether you notice it or not. Often, you don’t. You just feel a little light-headed at the thought of that little act of rebellion, of defying expectations. That is when the fruits grow swollen with blood, so heavy they bend the branches, staining the soil scarlet.

Tonight, the branches will sag, the fruits ripe and oozing, ready for our taking. Tonight we will race to harvest.

*

Sean:

My brother was late. And the weather was snappy. The first observation annoyed me more than the second. Wayne was late, when he specifically told me he wouldn’t be. He even promised.

I had just about worn out the pavement when I heard the sound of his sneakers scuffing towards me. In my hand-me-downs, he looked, as always, like a kid playing grown-up, but my little brother could never grow up, not when he was this absent-minded.

I folded my arms. “You’re late.”

He flicked his too-long hair out of his eyes and stared up at me. “I’m sorry. I got here as fast as I could.”

“If you don’t want to come, just say so.” I was being tougher on him than I had to, but he needed to know the importance of keeping promises or he’d end up like our parents.

His eyes widened. “I want to. Really. Come on, Sean.”

Wayne seemed different than the last time I’d seen him, even though it was only last week. He seemed to have grown more than I expected him to.

“Whatever.” I gave him a light shove and he punched me back.

The cemetery was deserted. Even the most valiant joggers had called it a day as the storm pressed closer down on us. But Wayne was bent on this. Ever since I showed him the fruit, the one stained with juice as sticky as blood, he had been eager to look for them himself.

“I don’t see it anywhere,” Wayne complained.

I took him down a dirt path flanked by untrimmed rows of hedges. “It’s not in plain sight.” Nothing was, on this island. Not tears or smiles or fruits. People here were a private bunch.

The clouds pressed down on us, making us quiet and breathless as we cut to the heart of the cemetery. My brother’s hair went wild in the wind, but his eyes were bright and focused.

It took me a while of squinting in the dark to finally locate the fruits. But there they were in the darkened bushes. Most of the leaves had fallen off, so the branches were bare and bent from the weight of the fruits. The fruits, though, with rivers of juice running down their sides, were fat and gleaming and red. There were a lot fewer than the last time I’d seen them, so I supposed I wasn’t the only who had discovered them.

“There.” I pointed. “See it?”

Wayne raced to the bush and pressed his face close to the fruit. The soil around his feet was damp and stained red. Wayne reached to pluck one off. It broke off from the branch easily.

He stared closely at it sitting on his palm.

“Is it edible?” he said.

“No.”

“How do you know?”

“We’d find them in the supermarket if it were.”

“Still, that doesn’t mean it’s inedible.”

“Are you going to risk it?”

Wayne ignored me. He flung the fruit to the ground, so that it burst open at our feet. Red juice splattered everywhere, staining our shoes and jeans, my t-shirt, Wayne’s face, and the soil around it. Wayne laughed, then plucked another fruit off the branch and smashed it against the floor. More juice splattered. His sneakers looked like it was vomiting blood.

“Cut it out, Wayne,” I said, leaping back. There was a strong metallic smell coming from my stained t-shirt.

It was a familiar smell. It reminded me of the last time Wayne and I had gone cycling and I had suffered a nasty cut from skidding past a thorny bush. The cut had been deep. It took ages for the bleeding to stop.

I joined my brother, who had gathered a pile of those strange fruits and was trying to stuff as many as he could into his backpack. His hands were stained like a murderer’s hands.

“I wonder if people will buy these blood fruits,” he said.

“Blood fruits?” I picked out a particularly large one from the pile. It was heavy and warm in my hand, almost like a live, breathing thing.

“I mean, doesn’t this look like blood to you?” He showed me his palms.

It looked too much like blood, and smelled like it too. I reached out to touch a glistening pool of it on the ground.

There was no doubt about it.



*

April:

The air is prickly tonight, a snarling creature with its hackles raised. I tread slowly but surely, my mind on the image of bloated fruits, my ears pricked for sounds of competition. My vision is useless here, so I focus on how the wind shifts around me, how the night creaks like a door loose on its hinges.

The cemetery may be quiet, but I know better than to trust the silence. Darkness breeds another world of monsters like us.

My brother has decided to gain a head-start and left before night settled in properly. As eager as I am to harvest, I am not as foolhardy. The best fruits are meant for the fiercest monsters.

I can spot their tracks in the soil, at least a one-metre radius beyond the roots. Sneakers. Boots. Regular footwear for creatures disguised as regular people.

A squeak. I still. Here, the ground is wet almost all year round because of the dense foliage. Apart from the noble kind, even the most fleet-footed find it hard to be stealthy.

Voices. Not one of my ilk, then. Scavengers would know to be quiet. They have to be Traders, the ones who think they have all the authority to be here picking fruit.

But most Traders will have gotten what they want by now. Few will linger to mingle amongst the likes of us.

I clutch the fruit in my hand. The weight of promises is comforting.

I am so hungry. The fruits are harder to come by these days, as Traders offer more of them to the noble kind. Soon, there will be nothing left for us.

From a distance comes a pair of voices - an older male and a boy. I keep within the shadows, where the air is musky and is unaffected by the imminent arrival of the storm.

"I can't promise you that, kid," the older one is saying.

My ears prick at the magic word.

"Why not?" the boy asks. "You're old enough to take me with you."

"It doesn't work that way. Dad's been given custody of you. There's nothing I can do."

"I hate it at Dad's. He's never around."

"I know, kid. I know."

"But we'll all be together again, right? Dad says we will. He promised."

The older boy snorts. "Unlike him, I don't make promises I can't keep."

My stomach growls, so loudly I fear they must have heard me. I tuck myself into the bushes and dive into the fruit.

Warm juice explodes in my mouth and smears all over my lips. I am seized with the familiar rush of power, one that makes my body tremble and my head spin.

The fruit tastes sharp and bittersweet, and I feel the prickle of all those promises people failed to keep, the bite of disappointment and guilt. It fills me up like no other food can.

At times like this, it almost comforts me that I am not quite human.

*

Sean:

When I saw the girl, crouched in the bushes, half-obscured by the branches, I thought I had to be running low on sleep. Ever since the relocation, there had just been so many things to do that sleep was a luxury.

But the girl wasn't a product of my exhausted mind. She was right there, fruit in hand and a couple of stray leaves tangled in her hair. For the most part, though, she looked like a normal girl my age. Except that her lips were stained with the juice of the fruit. She closed her eyes as she licked her lips. Juice trailed down her hands in rivulets, and dripped onto the soil and the front of her navy-blue blouse.

I felt like I had walked in on a private, naked moment.

She was about to dive in for another mouthful when her gaze caught mine. The evening air hung like a sword above our heads. I lost count of how long we stayed this way, her crouched on the ground and cradling her fruit, and me in an awkward stance that I didn't dare to shift out of. I couldn't look away. She looked almost inhuman, like those feral children I'd seen on TV. Except she wasn't a child - her eyes revealed that much.

We had both frozen in that long drawn out moment. Her hooded eyes on me, she seemed as incapable of movement as I was. She was waiting, just as I was. For what, I had no idea. But the air was still and buzzing, clear and foggy, all at once.

Then Wayne's voice cut through the muggy night, startling both me and the girl.

"Sean!"

The girl's gaze snapped towards my brother, but mine remained on her. She took one final look at me, then scurried away into the browned bushes just as Wayne appeared next to me.

"Sean." He trailed my gaze and peered into the bushes. "What are you looking at?"

I took a while to find my voice. "Nothing. Come on, let's go home." I took in his pregnant backpack, stuffed full with what we came to the cemetery for, and gave him a look. "Really?"

"Why not?"

I shook my head. There was so sense in rationalising the things my brother did.

*

April:

I know what it is like to be hunted.

But this does not remind me of one. There is no rush of wind at my feet, or the rustle of leaves or snap of twigs behind me. There is only my rapid, shallow breathing that takes up a space of its own.

I stop. Somewhere along the way, I have dropped the fruit. I am alone in the dark with my wild, thumping heart.

It feels almost disappointing, to be set up for a pursuit when none comes, until I remember I am the one being pursued. I always am.

A voice jolts me to attention. Michael says I startle too easily, and I suppose he's right.

The voice I heard to my left, it sounds like him. But that's impossible. The eastern corner of the cemetery is Traders' territory. My brother would be stupid to venture near there, no matter how hungry he is.

But another cry makes me crash through the wizened bushes.

Beyond the row of bushes is a clearing, an unkempt patch of land that is meant to deter trespassers and thieves.

If I take one step further, I shall be one of the trespassers.

After my feet crosses the line, I hold still for a long moment before taking the next step. Nothing has beset me. My heartbeat is a wild, rampant thing.

I press on.

There are fewer Traders than I expect. But that shouldn’t be surprising. They have greater means to conceal themselves than we do. The lone Trader I see is a lanky man with an equine nose and pebbly eyes that gleam in the dark.

My brother sprawls on the ground in the middle of the clearing. His long, messy hair is plastered against his clammy face. When he spots me, his eyes widen.

He makes to call my name, but winces as though stunned by an invisible rod.

It is too late to hide now.

"Another of your kind, I see," the Trader says. "I recognise the stench."

“Let him go.” I can’t imagine how my voice is not shaking, given how hard my entire body is. “Please.”

“No scavenger can be spared who trespasses on our territory.” He points a finger at me. “You included. What more of this thief.” His upper lip curls as he glances down at Michael. “A changeling, yet so brazen.” He raises his hand.

“Wait!” I cry. “Let him go. I’ll give you whatever you want. Please.”

Michael shoots me a look. “April. Shut up.”

But I can’t shut up. He is the only family I have left.

The Trader throws his head back and laughs. “I have no use for your meagre offerings.”

And he’s right. He is a Trader, one who serves the fairies. What can I possibly give him that the fairies have not already given him?

“A promise.”

“Again, what can you offer that I don’t already have?”

“A promise from someone who doesn’t make promises.” My heart drums hard and fast, though not as fast as the words are emerging from my mouth. “The fairies need never know.”

The Trader narrows his slit-like eyes at me. “I serve the fairies.”

“You serve yourself, and we all know that.”

Michael’s brows rise. I am just as surprised as he is at my audacity. The gloved hands of a Trader leave no room for second chances.

Finally he says, “One week.”

“One month.”

The Trader's lips thin. "Do not push your luck, Scavenger. Two weeks. Or he dies." He throws another look down at Michael.

I blink, and they are gone. The crook of the cemetary feels well and completely empty.

Tuesday, April 17, 2012

My Mr. Perfect

There are just so many things I need to review. I've read several amazing books these past couple of months, and am watching a fantastic Taiwanese drama serial now. I know, I know. You're probably about to zone out now, assuming this is going to be some fangirl's rave. But the more I think about Absolute Darling's storyline, the more I'm moved by it.



Absolute Darling (or Absolute Boyfriend) is adapted from the Japanese manga Zettai Kareshi, and it's about this unlucky-in-love girl who orders a boyfriend tailor-made for herself to alleviate the loneliness. The boyfriend is a robot, a merchandise, that encompasses every trait and quality and feature the girl wants in a boyfriend. Hence the title. Night, the robot boyfriend, exists to love the girl (I'll just call her Fay from now on). But he gradually gains cognition, and is able to love and feel and think for himself. But as he gains cognition, his body physically breaks down. So Fay and Night's romance is doomed to fail. The ending, I've heard, is heartbreaking, and to be honest I'm looking forward to Jiro's performance. While before watching any of his works I reckoned him to be just a pretty face, after watching Superstar Express I was blown away by his acting.

Jiro in Superstar Express:



But I digress.

As I was saying, the more I think about the storyline for Absolute Darling, the more my heart breaks for Night. Robots are programmed to serve humans - in Night's case, just one human in particular - and humans do whatever they want with robots because they think robots don't feel anything. Absolute Darling questions what happens when a robot develops cognition and is able to think and feel, but is compelled to do what it is programmed to do anyway.

This scene is of Night resting in his room when Fay is sleeping.


Fay wakes up in the middle of the night and looks for Night because she doesn't want to sleep alone. It made me think, what would a robot do when the person he is meant to serve is sleeping? Does he rest? Stay up thinking about Fay? What does he feel? Is he ever lonely? Does he ever question his existence?

Maybe it's just the sight of Jiro, in all his heartbreaking perfection, sitting in the dark alone that makes me obsess this way.

And my obsession took me to Novena Square 2 last Sunday, where the Absolute Darling meet-and-greet took place. Jiro Wang, in the flesh! I could just die on the spot. This was my second time seeing him in the flesh, the first was when Fahrenheit came in December 2010 to promote their fourth album. He is every bit as divine as I remembered, and he knows how to work the crowd. Everyone went nuts for him, and he was so friendly to all the fans screaming his name. The group of girls next to me kept calling for his attention, and instead of getting annoyed or ignoring them (as some celebrities would), he always turned and smiled and waved at them. Well, us. I'm pretty sure he looked at me on one occasion. I even blew kisses. (Yes, I'm cringing at that memory.) It's unbecoming of me, and almost insanely embarrassing, but I can't help it. He's just so ... divine. Being there that day made me remember why I loved him in the first place. When he mentioned being at Square 2 the previous time with his Fahrenheit buddies, everyone screamed in nostalgia.

The event was slated to start at 3.30pm, but there were fans who'd been queuing (the first 120 in the queue get an autographed Absolute Darling poster and pictorial book) since the night before. I reached there at 1.30pm and the first level was already packed, so I headed to the Portuguese restaurant on the second floor to wait. Around me were other fangirls with their cameras and LED signboards and handmade placards ready. Conversations buzzed around Jiro Wang, Fahrenheit and other pop idols like Show Luo. I tried to focus on my Psycholinguistics notes but couldn't fight back a grin when the girls sighed over Jiro's photos. Next to me, a girl from Serangoon Junior College was trying equally hard to focus on her Physics homework while occasionally bobbing her head to the music playing downstairs (Fahrenheit's new song, Mr. Perfect, and Jiro's new single, Pretend We Never Loved).

I did feel kind of frivolous, joining these teenage girls as they cooed and gushed over a boy. And I have wondered what it is about pop idols that make us girls throw our rationality out the window. In fact, I wrote a play centred around a character who's obsessed about a pop idol before, if you remember. It's called Two Steps Behind You, where 21-year-old Becky is irrationally obsessed with self-absorbed pop idol Prince.

I'm not going to ponder about the psychological reasoning behind rabid celebrity obsession. I'm sure there are a lot of articulate and opinionated people out there who can come up with their theories on this matter, but this blog is not for that. On this blog, there's only this:




Isn't it just so catchy? I couldn't stop humming it for two whole days! Can't wait for Fahrenheit's fifth album!


And, finally:



If you pay attention to the lyrics of the latter, you'll find how heart-wrenching the song actually is. Paired with Jiro's voice, it's almost guaranteed to make you cry.

Sunday, March 25, 2012

Review: Daughter of Smoke and Bone

I'd finished reading DAUGHTER OF SMOKE AND BONE by Laini Taylor about a week ago and only managed to find time to talk about it now.

Well, no. I actually have four group papers to complete by next week, but I'm sure I can sneak some time out to talk about what an amazing book I've just had the fortune to read.

I went searching for it in the library after reading the glowing reviews on Goodreads. Practically everyone gave it a four- or five-star review and cooed and gushed and raved about it, so I decided to give it a shot even though the book had an angel/demon premise. I tend to steer clear of such books after reading Becca Fitzpatrick's HUSH, HUSH, which was like TWILIGHT with angels (and that's the most polite way I can think of describing it) and Lauren Kate's FALLEN. Books with angels and demons almost invariably (at least, in my experience) sing the same tune, about a fallen angel and a mortal who share a transcendent love and there's always another angel to stand between said lovers by telling them it's wrong and that's supposed to be the whole appeal of the story. Forbidden love.

In the case of DAUGHTER, while the lovers do share a transcendent love that is also - what do you know! - forbidden, the premise is surprisingly refreshing. The angels and demons are from Greek mythology, and Laini's knack for world-building means the readers get to immerse in the Eretz (a parallel Earth that the angels and demons resided in before the demons destroyed everything to get back their land, which the angels had invaded). The history between the angels (called the seraphim) and demons (called chimaera) affects the main character, Karou, an art student in present-day Prague, who knows her life is strange - she has an ox-headed man for a father, a snake-bodied woman as a mother, and she runs errands for the ox-headed Brimstone, which involves meeting teeth-collectors from all over the world and exchanging them for wishes - but does not know why. The readers are placed in Karou's perspective, so we have no idea what's going on, but it's all so darn intriguing we just have to read on.

I'm not going to summarise the story here, because I don't think I can do it justice. Here's the professionally-written blurb instead:


Around the world, black handprints are appearing on doorways, scorched there by winged strangers who have crept through a slit in the sky.

In a dark and dusty shop, a devil's supply of human teeth grown dangerously low.

And in the tangled lanes of Prague, a young art student is about to be caught up in a brutal otherwordly war.

Meet Karou. She fills her sketchbooks with monsters that may or may not be real; she's prone to disappearing on mysterious "errands"; she speaks many languages—not all of them human; and her bright blue hair actually grows out of her head that color. Who is she? That is the question that haunts her, and she's about to find out.

When one of the strangers—beautiful, haunted Akiva—fixes his fire-colored eyes on her in an alley in Marrakesh, the result is blood and starlight, secrets unveiled, and a star-crossed love whose roots drink deep of a violent past. But will Karou live to regret learning the truth about herself?



The story is not just compelling because of its intricate plot and novel ideas like exchanging teeth for wishes and **SPOILER** using teeth to construct new vessels so that souls of those slain in the "otherworldly war" can be renewed (the word Taylor uses is "evanescence"), ensuring that the demon army will never suffer a fall in numbers.

No, plot is one thing. The story is laudable also because of how vividly Taylor paints her scenes with language. Although there were snatches of cliched phrases throughout the story, on the whole the writing is lovely without being too cloying or cumbersone, dramatic without edging into melodrama. Here's an example (this is Karou's flashback of her previous life):


She is a child.

She is flying. The air is thin and miserly to breathe, and the world lies so far below that even the moons, playing chase across the sky, are seen from above, like the shining crowns of children's heads.

***

She is in battle. Seraphim plummet from the sky, trailing fire.

***

She is in love. It is bright within her, like a swallowed star.


Why yes, I'm a sucker for imagery, how can you tell? This reminds me so much of ever-amazing, multitalented Maggie Stiefvater's writing, yet Taylor and Stiefvater's styles are vastly different in terms of plot and pacing.

Based on the excerpt, though, it's obvious Taylor isn't some amateur wannabe-writer who decided she'd jump on the angels/demons bandwagon and make a quick buck out of telling a contrived, run-of-the-mill story that tween girls gush about because they harbour some not-so-secret fantasy of finding true love just like that in the story. Taylor is confident in her prose, and delivers what needs to be delivered without tossing in some redundant phrase or word.

It is only in the last couple of chapters that we understand why Karou is called the daughter of smoke and bone. I don't know how else not to give away the plot other than keeping my mouth shut about it. Which, I know, sort of defeats the purpose of writing a book review.

I read DAUGHTER right after reading Maggie Stiefvater's THE SCORPIO RACES. There are just some days when creative input just keeps coming, and some days the delivery truck is waylaid. Right now, by Stiefvater's recommendation, I'm reading Steve Hamilton's THE LOCK ARTIST, which sort of reminds me of Holly Black's CURSEWORKER series. Two chapters in and I'm loving the voice so far, but the narrator has yet to reveal a quality that makes me warm to him, but I'm hopeful.

Monday, March 12, 2012

Some lovely advice...

from author Julie Cohen:


"The most liberating advice is the one I now always give to aspiring authors: give yourself permission to write crap. Your first draft doesn’t need to be perfect, but it does need to be written. Sometimes we need to write the wrong words in order to find the right ones."

Monday, March 05, 2012

Sneak peek into Shiny New Idea



Where dips the rocky highland
Of Sleuth Wood in the lake,
There lies a leafy island
Where flapping herons wake
The drowsy water rats;
There we've hid our faery vats,
Full of berrys
And of reddest stolen cherries.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand.
For the world's more full of weeping than you can understand.
Where the wave of moonlight glosses
The dim gray sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And anxious in its sleep.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you can understand.
Where the wandering water gushes
From the hills above Glen-Car,
In pools among the rushes
That scarce could bathe a star,
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams;
Leaning softly out
From ferns that drop their tears
Over the young streams.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you can understand.
Away with us he's going,
The solemn-eyed -
He'll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal chest
For he comes the human child
To the waters and the wild
With a faery, hand in hand
From a world more full of weeping than he can understand
~ William Butler Yeats


Can you already guess where I'm going with my Shiny New Idea? I know. I can't believe it too.

The wise words

 of Query Shark:

"... pay attention to rhythm. More than anything else stylistically, it's that rhythm of good writing that's toughest to teach and learn. When I'm editing manuscripts, I say the sentences out loud a lot. Hearing them helps me see where there are extra words, or too many beats, or misplaced beats. It's very very slow editing when you are down to moving syllables in sentences, but it's what makes the difference between gorgeous writing and so-so sentences."

Friday, March 02, 2012

Quickie!

So I'm nearing the end of Maggie Stiefvater's THE SCORPIO RACES and have to say: the book doesn't disappoint. Of course. Maggie doesn't disappoint.

And this piece by Bond just sets up the mood - for me - while I'm reading it.


Doesn't it remind you of bloodthirsty horses racing on the beach?

The best scene is one that makes you think about it no matter what you're doing.

Thursday, March 01, 2012

On character motivation

Here's one of the best writing advice from one of the most helpful literary agents around: What Do Your Characters Want? by the ever-witty Nathan Bransford, from March 17, 2009.


Motivation. It's the powerful emotion that inspires people to get off the couch and grab a tub of ice cream. It's the only thing that is strong enough to pull me out of a very warm bed when it's still dark and cold outside. And it's what inspires Mario to save the princess, despite all sorts of finely rendered cartoon characters standing in his way.

How does this relate to books? Every good book begins with a protagonist who wants something.

I know that this kind of seems obvious (and it probably is), but there's a reason you don't generally see books about characters cast about by the whims of fate without any sense of purpose or desire whatsoever. Even Odysseus, essentially a powerless character blown about by the gods, has a rock solid motivation: he wants to get home.

Now, your character doesn't have to know what he/she wants on page one, but it should be conclusively clear by page 30, preferably earlier. And then, every step your protagonist takes after that point should be a step toward that goal, only they are thwarted at every step by obstacles and characters who have their own set of desires.

Many novels, especially genre novels, have a built-in motivation. Think: "save the princess" fantasy novels. It's built into the plot. The protagonist wants to save the princess. There's your motivation.

But better yet is a novel where a character wants more than one thing, and these two things are at odds. The main character might want to save the princess, but he might just have his eye on the king's throne as well, so he has to decide by the end of the novel which is more important to him. Better still is a character that wants things that are internally contradictory so that they not only have to battle the exterior obstacles to get what they want, but they have to battle conflicting desires within themselves as well.

Here's a way of illustrating that, Super Mario Bros. style.

Good: plumber wants to save the princess.
Better: plumber wants to save the princess while besting green-clad brother with similar goal
Best: plumber wants to save the princess while besting green-clad brother with similar goal, but although he is brave he is plagued by the creeping sense that the gamer controlling his every move might want him dead

Every time you introduce something your character wants, internal or external, whether it's saving the princess, acceptance from their parents, or snaring a white whale, you're introducing a plot arc. The main arc should open at the beginning and close conclusively in the climax of your novel. Smaller arcs may be introduced and closed somewhere in between.

Every single character you introduce, major or minor, should also have their own plot arc(s) with defined goals and motivations. The more important the character the longer and more complex the plot arc(s): i.e. your main villain's plot arc is probably introduced toward the beginning and closed at the end, and we probably have a rather nuanced sense of their own desires and contradictions.

This is often where writers miss opportunities: every character, big or small, has to show motivation, agency, and desire. They have to have their own plot arcs. And it's important that the arcs have a beginning, middle, and end. Unless you're under contract for book two, make sure those plot arcs are closed!

At every step of the way, on every page, with every exchange of dialogue and every action, characters are trying to achieve their desires but run into obstacles, whether internal, external, or because they're encountering characters who want something different than they do. This is conflict.

So I took this test...


The Desert Test
Horse
Congratulations! The two of you made it out of the desert!

Based on Japanese Archetypes the desert represents a hardship. Each of the animals represents an aspect of your life. The order in which you sacrifice the animals might be said to represent the importance of these things to you. The one that you sacrificed first is the least important, and the one that you kept is the most important.
1 You sacrificed the Lion. The Lion represents pride.
2 You sacrificed the Monkey. The Monkey represents your children.
3 You sacrificed the Cow. The Cow represents basic needs.
4 You sacrificed the Sheep. The Sheep represents friendship.
5 You kept the Horse. The Horse represents your passion.

No explanation required, I suppose.



Shiny New Idea!

While reading the blurb of THE SCORPIO RACES for the hundredth time this morning, I came up with the idea to model the blurb for my Shiny New Idea after it. Consider this my pitch in less than 100 words:


Every year, the fruits of promises made are harvested by unscrupulous Traders and sold in the black market. Every year, the Scavengers race to pick the ripest fruits. To compete with the Traders can mean death, but the fruits are a means of survival for the Scavengers.
When Lisa makes a deal with a Trader to save her brother, she meets Sean, a boy who doesn’t make promises, which makes them exceptionally valuable. (DODGY GRAMMAR)
As she comes to know Sean, Lisa finds it more and more difficult to choose between protecting him from the Traders and saving her brother.

There are, of course, some pesky kinks I need to work out, like

1. What's so special about the fruits?
2. What is a Scavenger?
3. Likewise, what is a Trader? How are they dangerous?
4. How do they differ from humans?
5. So what if Sean finally makes a promise? How is he in danger from the Traders?
6. Subplots, subplots!
7. What does Sean want?

BLOOD PROMISE actually came about as a short story, but as I wrote it I thought I could take it further and develop it into a full-length novel. This is what I have for now. I'll still be working on completing 15 MINUTES, but if BLOOD PROMISE takes flight maybe it'll be the next story I work on, instead of the one I had in mind.

Tuesday, February 28, 2012

The writing life

Julia Bell, UK novelist and lecturer, shares her essential writing tips:

1. Get rid of all distractions – if you have to, disconnect your wi-fi. There’s a great app called Freedom which disables your wi-fi: http://macfreedom.com/. This has saved me many hours of working time from the rabbit hole that is the internet.


2. Focus on what’s in front of you. A good writer can make a short walk across an empty room seem interesting. Try with what you can see now, beyond the computer screen on which you are reading these words. What’s the view out of the window? What does the floor look like? The walls? What sounds can you hear? What smells? This kind of close focus in the stuff of good fiction. Get in the habit of noticing your surroundings.


3. Write every day. Even if it’s only a shopping list. Writing is a habit as well as an art.


4. Read every day. Even if it’s only a bus timetable. Reading gives you language, ideas, jumping off points. Take vocabulary from your reading and record it in your notes books – any unusual words, odd sounding phrases, quotes you want to remember. Your notebooks then become a record of the journeys that you have taken in your reading.


5. Your characters need to be written before they’ll become fully-rounded people. You don’t know who they are when you first start writing them as you haven’t really spent enough time with them yet. Don’t expect to know them completely right away. Getting to know them over time is part of the point - uncovering them as you go along.


6. Don’t overdo it. See point 3. Writing everyday and doing nothing else will quickly burn out your inspiration. Take time out to go for walks or to museums and galleries or to the cinema, theatre, etc. to places which inspire your creativity. Again, use point 2 here, take note of where you are, what things look like, who else is around. You are a body and a consciousness in the world – use your senses and your intellect to explore it. Check out the blog of creativity guru Keri Smith http://www.kerismith.com/. Her books are great too as a way into this kind of creative exploration in practice.




Don’t listen to what anyone else says. Be a rebel when you write. Don’t bother with people when they ask you, “Your writing can eat or not?” If you have to write in order to gain approval from others—don’t do it for them, because then your writing will be worth nothing. Your writing must always mean something—especially to yourself. Get yourself a nice quiet part of the room, one in which your parents will not nag you for wasting your life not making money. I think it is fairly obvious that writing should not be about money. It is also not about fame. It is about doing what is necessary, such that if you do not write, your life would have little meaning.


Whether you write with a computer or a pen and notebook, make sure you ask yourself this question before you start: “Who am I writing for and is what I am about to say elegant, honest and straightforward?” The first line is everything. The second line too. You have to pack a punch, but always wrap your fist in a velvet glove. Then in the middle of your poem or story, take out the glove and set the context, caress the clueless reader with facts and set the context; then put the glove back on and strike hard with a revelation; the sensitive reader is always looking for a beating. Make the reader beg for more. Suggest; don’t impress. Evoke through your writing; don’t rant or complain. Leave the complaining for your blog.


The most important aspect of writing is to read the writings of others—especially those who write about the same things as you. See where you think these other writers have succeeded or failed; then commit to the same standards in your own work. Writing is meaningless if you don’t read. Read well. Be the kind of reader you would want others to be when they eventually read your work. This will make you into the kind of writer that you have always hoped to become.


Saturday, February 25, 2012

haiku moment



Nobody told us
Powdered hearts scatter faster
When kept in torn pockets.



Thursday, February 23, 2012

A most-welcomed bout of encouragement

... from literary agent Rachelle Gardner's blog: 6 Reasons for Writers to Be Optimistic


Guess what! The sky may not be falling after all. Yes, there are a lot of changes happening in publishing (and the world).


But things aren’t all bad. Herewith, six tidbits to cheer you up.


1. Publishers are still buying books.



If you follow Publishers Marketplace, you know that new deals are being announced every day. Some people even (allegedly) get deals for $4 million (hello Amanda Knox). While that’s not the norm, it’s a sign that big publishers still have money and still see a future for books. Closer to home, it’s nice to note that deals are still being done for books in all genres, fiction and non-fiction.


2. Agents are still taking new clients.



Yes! Believe it or not, agents still read queries, attend conferences, and sign new clients. Who knew? I myself have already taken on two new authors this year. And it’s only February.


3. Debut authors are still getting published.



Since many of you are yet unpublished and finding the road to publication challenging, it probably feels like nobody wants debut authors anymore. Not true! Fresh voices are still the lifeblood of publishing, and every year, many of them make it to the bestseller lists and “best of the year” lists. Debut authors are never a huge portion of the books published, but still make up about 10 to 15% by my (unscientific) estimate.


4. Print books are still about 75% of the market.



I know, I know, you love the smell of the paper, the heft of the book, how they look on your shelves, yada yada yada. You love your print books, I get it. Luckily for you, print books are still the majority of what’s being sold. If you want to see your book in print, you still have that option.


5. People still READ.



And now that everyone’s on the Internet all the time, people are reading more than ever. That means if you write words, chances are, you’ll find someone to read them.


6. There are more publishing opportunities than ever.



As technology drives the changes in publishing, your options for getting your work in front of readers are expanding and multiplying every day. As far as I can tell, there’s never been a better time to be a writer.


Why are YOU optimistic today?

Tuesday, February 21, 2012

#^$%^#%, WIP!


Big problem. Big, big problem with my work-in-progress. And here is where I come to whine sort out my thoughts.

I'm torn between abandoning my WIP and pressing on. Of course, I'm more inclined towards the latter. But I've come to the devastating conclusion that I am not ready to write this story. I was never meant to write this story. Yes, I had fun writing it. But that, really, seems to be all there is to it. It's just a story, a simple shallow story without a discernable theme, inconsistent characters and a meek plot. I don't have anything to say about anything, and my characters are just going with the flow, not forced to make their own decisions or learn something about themselves or the world they live in.

Long story short (pun unintended), I can't go on.

A hiatus and a revision later, 15 MINUTES DOWN SUNSET AVENUE is still not working. It feels like I'm surrendering, giving up at page 241 now, but I simply don't know how to rev up the engine again. Here I am, giving in to the midstory goblin, just like I had for MINT. Except while I gave up at page 157 for MINT, I'm giving up at page 241 now.

But 15 MINUTES is a complete mess, in terms of plot, characters and theme. The characters are inconsistent, especially Prince, and the stakes are not high enough. The subplots are not complementing the main plot as well as I would like them to, and the characters haven't experienced the proverbial end of the world before dawn breaks. And I'm already at page 241. How long more am I going to make my characters walk about on the page? How are the characters going to make tough choices if there isn't a strong enough conflict to jolt them into action?

Okay. Deep breath. One problem at a time.

Problem 1: character.

Prince. One of the main characters. Arrogant, narcissistic pop idol who went on a two-year hiatus after his father, with whom he is very close, died. He has decided to fulfil his father's wish and make a comeback. Problem: in the period he's been gone, other pop idols have risen and eclipsed him, but his fans remain loyal and stand by him throughout his tumultuous journey to reclaim his throne.

And that's where the logical problem lies. If he's got such a huge and devout fan base, why would his comeback be such a struggle for him? I wrote it such that his arrogance and impetuousness is the reason why directors and music producers are reluctant to work with him. But he's a good cash cow - wouldn't they fight to work with him even though he's really difficult to work with? Also, I intended to make his comeback really tough and fraught with problems (personal life - his relationship with Chloe; public image - a sore loser who can't deal with competition; reputation - impulsive, conceited brat, rude to the media), but how tough can it be if there are so many fans supporting him? Because for all his shortcomings, Prince is the best when it comes to his fans and close friends. I need him to have a redeeming quality, you see, otherwise readers will hate him.

Also, another problem: his father died. If he was so devastated by his father's death, so much so that he had to take a 2-year hiatus from work, wouldn't he be more humble and less arrogant, narcissistic and impulsive? He would be more sombre, or at least slightly more mature, wouldn't he? But I've always had the image of Prince as an arrogant brat who is, if nothing, generous to the people he loves. People who know him love him as much as they hate him, while his fans are completely smitten with him. So that's another problem.

Next, the problem of theme. Every story needs one. Every story needs to circle around this theme and provide an insight into the human condition (or at least, just the protagonist's condition) or the environment he or she lives in. What's the theme for 15 MINUTES? What was my theme for MINT? Am I making the same mistake? Not digging deep enough into my story? I suppose Chloe's fear of stepping out of her comfort zone could be something readers might relate to. That, and her inability to make decisions for herself, seeing as how she is so used to taking care of others and putting other people's needs before her own. I could use this encounter with Prince and his world to trigger a character transformation in Chloe. But, if Chloe was afraid to step out of her comfort zone, why would she agree to be Prince's assistant? Oh right, because of the money. Her parents' business venture failed....

(Don't mind me. I'm just thinking aloud.)

Another problem: plot. What are the stakes, for Chloe and Prince? They aren't high enough. Their problems are not big enough to make readers want to stick around and find out what happened to them in the end. No one will care. Prince needs to lose everything he has. His career, Chloe ... his fans? He (and Chloe, now employed as his personal assistant) need to abandon all hope, make a decision, stick to it and live with the consequences. But he hasn't lost enough yet. Maybe I'm mollycoddling my characters too much. I don't want anything too bad to happen to them. Maybe that's why I'm stuck in this stalemate. I have my antagonist, Sawyer, who is Prince's bandmate and now rival (because he signed on to be a pop idol without telling Prince) in both the spotlight and in love (i.e. Chloe). I have Prince's mother, who will remove anyone and anything that stands in the way of Prince's success. But how to make them work - how to weave the story, subplots with main plot - is the question.

Anyone who thinks writing a story is easy needs to try it on their own.
From Kidlit a while back:

Am I Wrong to Pursue A Writing Career?
For today, I’ve got a question from a reader! Take a look at what L.S. wanted to know:
I’ve been writing for a few years (I’m 17) and I know I want to be an author. It’s all I want to do but I know my writing needs work – a lot of work. I’ve heard from some people that the only way to improve your writing is to practice, just keep writing and reading. Is that true, or is it different for everyone? And is it wrong to pursue this as a career?
It seems like the most common advice is to do something else, “write in your free time”. I originally decided that if I made it to college, I’d major in Creative Writing. I thought that would help me become a better writer, but I’m worried now that it would be a waste of time.
There isn’t a single writer in the world who hasn’t doubted whether writing is the path for them. These questions are definitely normal. The first thing I have to say is that you’ve got plenty of time on your hands. A lot of writers discover their passion for it early. This is the part you might not want to hear, though: a lot of writers start early but then spend years and years and years honing their skills. To answer your question, yes, practice and reading are the best ways to improve as a writer. That’s not just for some people, that’s for everybody. The more you write, the better you get, and the more you read, the more you absorb for your own craft.

Even though you’re thinking of majoring in creative writing, don’t think you’ll get out of college with that degree and begin a career writing books right away. The truth of the matter is, you’ll learn a lot more from years and years of practice than you ever will in creative writing classes. Those classes were nice but did little to prepare me for writing a book and getting into the publishing world. Heck, my MFA in creative writing was only marginally better than college in terms of craft and literature curriculum. Luckily, nobody cares about your degrees or your resume when you’re a writer. They only care about the work, as should you. That’s your responsibility to hone, so don’t feel like you need to put so much pressure on your degree.

Being an author isn’t an easy career to get into. Most people don’t realize how long it takes to start writing good, saleable books. Most people have no idea how slowly the publishing world moves. I talk to writers all the time who say it took them ten years of solid writing to finally get a manuscript that sold. But if that’s the only thing you can possibly imagine doing, if writing is an irresistible, compulsive thing for you, then pursue it. Most people try and then drop out. This is a field where tenacity is pretty much a requirement.

The thing you really need to explore right now is your voice. For young writers, the voice is usually the last thing to develop and solidify. It’s true. To carry any kind of book for 300 pages, a writer needs a mature, dynamic and compelling voice. A voice that feels like a real human being, not just some caricature or persona. If there’s any advice I’d give you, it’s to educate yourself, put in grueling writing time every day and to work tirelessly on your voice. That and don’t give up just because it’s hard. The most worth-it things are always difficult.



Nice to know I'm not alone.

Friday, February 17, 2012

The best of the noughties! (non-exhaustive list ahead)


http://www.youtube.com/watch?v=KtypSRcwIhA&feature=relmfu

Admit it. You were singing along to it, weren't you? Filled with delicious emo catchiness, and it brings back memories of secondary school. I remember I was in secondary 2 when I heard them, and I've loved almost every one of their songs since. Ah, to be fourteen again. So much has happened. This is one of those songs that bring back all those memories for me.

Another one from them that brings it all back is this:
http://www.youtube.com/watch?v=yfdAGkjHGac&feature=related

Gotta love AAR. Tyson's gorgeous, and their songs don't take themselves too seriously, but the lyrics are well thought out. The noughties was the era of pop rock! Along with AAR were Simple Plan, Good Charlotte, Avril Lavigne and Ashlee Simpson, etc. Some people say their music is shallow, but really they just need to get off their high horses (alternatively, they can remove the sticks from their butts - I'm sure they are equally effective) and enjoy the music for what it is. You've got your poison, I've got mine. They're like summer holidays music to me.

Remember this?


http://www.youtube.com/watch?v=qvpNa5O-0-8&ob=av2e

Their first album was the best. I remember some of the guys from 2E2 singing this in class and the entire class started singing along. Good times. (Plus, I remember I thought the drummer from Simple Plan was cute. As is Tyson from AAR.)

And who can forget this scene?

http://www.youtube.com/watch?v=0MdfscDeGe8

The first few seasons of Smallville were so good. After Jensen left the show, though, I stopped watching it (and moved on to Supernatural), partly also because Lana ditched Clark and went off with Lex Luther. Wow. To think I actually remember all this. 2004 really brings back a lot of memories.

Like this:
http://www.youtube.com/watch?v=WJCsyLUCSXI&ob=av2e

She used to be good when she first started out. Natural, dedicated. I think Hollywood changed her. Wish she'd go back to making music again.

And here's her ex:


http://www.youtube.com/watch?v=RWwdh6FGL4M&ob=av2e

Whatever happened to him?

And from 2003, there's:

http://www.youtube.com/watch?v=5NPBIwQyPWE&feature=relmfu

And:
http://www.youtube.com/watch?v=kXYiU_JCYtU&feature=related

2005 brought:

http://www.youtube.com/watch?v=Vs0ZwOtr15Y

Reminds me of our Geography field trip to Perth. I heard this on the bus and on the local radio station one very chilly morning in the hotel room with Jolene and Michelle.

Also:


http://www.youtube.com/watch?v=yipoOY56MbM&ob=av2e

The very song I wailed along to at the farm we visited. It was raining and biting cold and the bunch of us were holed up in our cabins nursing mugs of tea. And then Kelly came on and there was no stopping me.

And:


http://www.youtube.com/watch?v=K1uNjmxJQUo

And on a more sombre note:


http://www.youtube.com/watch?v=8YzabSdk7ZA&ob=av2e

Still, there was her ex, who brought this in 2006:


http://www.youtube.com/watch?v=-oqXwnXjgDE&ob=av2e

Back to 2004, there's this:


http://www.youtube.com/watch?v=-oqXwnXjgDE&ob=av2e

Reminds me of secondary 3 camp. I was listening to this on the bus that took us away from civilisation.

And then there's good old Gwen:



Next came junior college, which was really characterised by songs like:


http://www.youtube.com/watch?v=O0lf_fE3HwA&ob=av2e

We were supposed to introduce ourselves to the class, and this song was playing in the background and we were singing along to this. The guys sang along with Akon!

And:

http://www.youtube.com/watch?v=2EwViQxSJJQ

Guys immediately become sisters when they sing along to Beyonce with you. Guys of A01, you know what I mean.

I think I've mentioned this before, but Steffi played this song on a very slow afternoon as we were all slogging over our Project Work:
http://www.youtube.com/watch?v=h_m-BjrxmgI&ob=av3e

Then Justin brought us another hit:


http://www.youtube.com/watch?v=TOrnUquxtwA&ob=av3e

I remember this because that song was used in the first episode of the first season of Gossip Girl, when Serena van der Woodsen entered.

The few of us mugged at the school library to this song (we did little else then but study):


http://www.youtube.com/watch?v=dvgZkm1xWPE&ob=av3n

Still, 2004 had the best songs. Pop rock ftw!They're feel-good, not sleazy, and don't take themselves too seriously. Who could hate them?


http://www.youtube.com/watch?v=X9fLbfzCqWw&ob=av2e



http://www.youtube.com/watch?v=K38xNqZvBJI&ob=av3e



http://www.youtube.com/watch?v=tuK6n2Lkza0&ob=av2e

Remember Ipod used this song for their commercial?

Just a thought: what do they call the 2010's? What's happened to music since the noughties? I'm not a hater, but I just think there can be something better than the likes of Lady Gaga, Justin Bieber, Miley Cyrus, Jonas Brothers, etc. Whatever happened to good old pop rock?