Writing Goings On

My Greatest Challenge:
Discovering How to Write A Novel

   The most life-altering challenge that I have met so far is writing my first book – for nine years. Though Convergence: Think Big is Science-Fiction, I intended for the hard science aspects to serve as a backdrop for a gritty, character-driven drama.
     In the beginning, this project was an enormous and exciting idea that became both an obsession and a huge decision-making task. While I can easily write dialogue between people or come up with an original premise, for me, starting to write a story from the first spark of an idea doesn’t work. Without a plan about who is there, where the scene takes place and its desired conclusion, I end up with disjointed plot strands. First I must decide on the story’s characters, plot, setting and logistics.
     Traditionally, Acts 1, 2 and 3, are centered on the protagonist. Act 1 introduces them and a problem that they must deal with. In Act 2, while taking on the problem, they face obstacles. Act 3 is the conclusion where they have either solved the problem or failed, but they are changed. All three Acts together, are often called a character arc. The characters’ quests are designed by the author to expose weaknesses and to challenge their limits – forcing them to adapt, so that at the end they have changed, for better or worse.
     But, while my protagonist drives the story, my book is an ensemble piece because I switch points of view between many characters. Some have their own journeys, while others witness plot events. In order to tell this tale through multiple sets of eyes, my writing became an exercise in empathy – of coming to understand my characters from the inside.
     In order for the readers to picture the unique players and landscapes of Speculative Fiction (Sci-Fi, Fantasy and Horror), meticulous world-building is key. Convergence happens in an unfamiliar (to us) galaxy with no Earth (though one of my races is similar to us). Since I’ve long been a lover of nature, I enjoyed figuring out the evolutionary background of my four peoples. Using my understanding of sociology and politics, I formed four governments. Also, I went deep into the personal and family histories of characters, so that their personalities logically emerge and are strongly expressed. I also developed their anatomical attributes – in some cases, I made drawings. This kind of fleshing out is fun for me.

     However, the logistics are often daunting. For example, I had to plan and describe space battles. While I knew who would be involved and the result that I wanted, how would I get there? I realized that I was ignorant about the setting. That realization lead to six months of astronomical study, which then helped me to create, name and map three alien solar systems. Next, I decided on the design, type of propulsion, speeds and weaponry of four kinds of spaceships. I plugged those specs into my solar system maps, to figure out how long it would take my characters to traverse distances. Finally, I chose the number and categories of the ships engaged in battles, and counted them down as they were destroyed. Once the framework was done, writing the scenes flowed.
     Following my plot and tracking the character arcs, I dipped in and out of writing and development. None of my creations are finite -- I often have to add complexity -- I have many documents on file. Each book chapter has a themed title and contains a few sections, written from different points of view. Often, I altered my plot (cards) in order to group similar themes together in interesting ways and for the build-up of dramatic tension and its resolution – a miniature Act 1, 2 and 3 – within each scene. Thus, I moved major characters through experiences to support their trajectory toward transformation.
     Yet, most important was obeying my character’s voices; they told me what they would do, say or think in a situation. If I couldn’t hear them, back to background creation I went. One of the most strange and rewarding aspects of my project is that my characters are now alive in me, guiding me in writing the second book. Perhaps it’s a healthy version of having multiple personalities.
     Eventually, I finished a vivid and richly imagined book that I am proud of. In the process, I have also transformed – into an author.

The Importance of Music

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         All my life, I've been a music lover. Whether listening, dancing, singing, playing the piano, where there's music, there's magic. If I'm having difficulties or feeling stuck, I can count on music to enact a much needed alchemical change.  While I worked on Monsters Unbound, two songs became important symbols. I had an epiphany about a song that used to trouble me. For decades, my first read of David Bowie's Little China Girl was demeaning to the woman portrayed in the lyrics.  To be called 'little' is insulting for a woman, and 'China girl,' racist. But, it's a Bowie song -- he was a genius and known for his humanistic views. The perceived negative factors never quite matched the brilliance of the epic music and Bowie's impassioned delivery.

     Upon further examination, the song is about a relationship between people representing the East and the West. Bowie studied Buddhism. The narrator sings, 'I'm a mess without my little China Girl. Wake up in the morning, where's my little China Girl...," Later, he warns, 'you shouldn't mess with me.' That he 'wants to rule the world,' with 'visions of swastikas in his head, plans for everyone.' Then he describes that when he gets 'excited' (unhinged, extremist views), she says, 'baby, just you shut your mouth. Shhh....,' keeping him in check.  Eastern thought and philosophy can calm destructive Western colonialism. He is in awe of her power over him and his crazy ideas.
    
     Amazingly, the Little China Girl relationship dynamic encapsulates  the romantic core of my novel, Monsters Unbound.  When Dracula meets Katarina (human) in 1587, the pair of outsiders are instantly drawn to one another, but she doesn't know he's a vampire. He hides it  out of shame.  Beforehand, for over a hundred years of Vlad's earthy 'penalty' of being denied an afterlife and thrown back into his dismembered body, convinced him that he dared not care for anyone. Homeless and disguised, he popped in and out of society, always at risk of persecution.

     Upon their meeting, Katarina  also was reticent. Childless and mourning two husbands -- each one died after 3 years of marriage -- she had become a formidable horsewoman and hunter, who can manage a pistol, sword and a stiff drink.  Though empowering, arming herself with those skills was also isolating. She was resigned to being alone with her books and horses. The locals considered her mad. 

     As they get acquainted, Katarina encounters an aura of pain around Vlad -- 'his curse.' Sometimes the stolid horsewoman feels faint in his presence. Yet, she intuits that she can help him with his 'spiritual malady,' though unsure of what it is. A devout Christian, she has a touch of the mystic about her.

     Attentive and charming, Vlad admits on their 3rd visit that she has his heart. She has a similar feeling, though they hardly know each other. Dumbfounded about his feelings, he wanted to escape before he endangers her, but their attachment only grows. Once he reveals not only what, but who he is, he offers to blank her memory and slink away. Even more determined to be with him, Katarina refuses. She thinks there must be a way to abolish the painful barrier between them. Whereas, he considers himself cursed (black and white thinking, West), she sees his deeper qualities and is certain that they are a great match, 'to be fallen together.' (holistic, mystic faith, East). Whereas, Vlad feels 'tragic, like he's Marlon Brando,' undeserving of happiness, Katarina tells him, 'shh, all will be well.'

     What would Katarina's song be? Sade's Sweetest Taboo. The singer's smooth, cool delivery is how Katarina carries herself -- assured, sophisticated, loyal.  Based on his regret over his wrongs, she decides that Vlad's 'taboo,' his punishment was too severe -- sides with him over God. Having experienced love and loss before, she recognizes that 'it's never been this hot before.' Dracula is different than anyone she'd ever known --  mysterious, with vast experience and power, yet he treats her as an equal. They frequently laugh at life's absurdities, and relish each other's company. Instead of fearing what would happen to her soul if she became a vampire, she has faith that the Divine would bless their love. Their backgrounds, wounds and personalities balance each other, like the Yin and Yang. What's a little bloodletting, the loss of daylight and human food, when you have met the One you are to be with for eternity? Entering her new chapter as a vampire with her eyes open, Katarina finds that she wouldn't trade Vlad's 'quiet storm' for all in the world.