Fic: Flight

It’s ten past midnight and the moons are high and bright, washing everything in faint blue-silver. It had been mid-afternoon, and it looks like it still is where the curve of South America is distantly illuminated.

I haven’t dreamt this place in years, and this doesn’t feel like a dream. Everything’s too solid, and I’m still wearing the clothes I was when I laid down for my nap. If I knew this was where I’d end up, I’d have dressed better today. It’s always been a contingency plan that, if I knew I were going to another world, I’d dress as much as I could like local nobility. Arriving alone here instead of accompanied by a prince, it would have stood me in good stead.

Basic check: I exist, and am the same species I was before I went to sleep. I am on Gaea, I gather from the sky. I am alone, and on a gently pitched roof. Where am I in intermediate terms? The night air is humid and cool without being cold, so probably a temperate zone. There are imminent mountains in a rough semicircle around the sprawl of buildings, and the lights cut in too clean a line on the side away from the mountains. Asturia, then.

It’s been too long since I watched the series. All I remember are allusions to Venice and a great number of blonde princesses. Merchant cities, though, those I can deal with. Better here than the heart of the evil empire, since totalitarian ideology and I don’t tend to get along.

What do I have with me? No shoes, which I’ll need to correct. I do have my messenger bag, though, and that makes me grin. I emptied it recently, so not a ton of supplies, but unless something has gone terribly wrong, I have all the tools I need.

I have always wanted to fly.

To further this cause, I look for an easy way down, then check the drop from the edge of the roof. It makes me swallow hard. I swing my bag over my shoulder and strap it tight and then let myself over the edge feet-first. Once my hips are over the edge, the gap feels huge, but I let myself down until I am holding by my fingertips. I let go, because I don’t have the upper body strength to go back now. Air rushes up past me, and then everything hurts and I roll a few feet across the cobblestones.

I pick myself up and dust myself off and look around. I’d landed on a tavern. Bar or club is a too thoroughly modern way to refer to it, I confirm as I sashay into the smoky, convivial darkness. A hand grabs my ass, and I whirl elbow-first. The man I elbow in the head has disconcertingly mole-like features. “There was no need to do that!”

“I did not give you permission to touch me,” I say.

A man dripping smug and money drapes an arm around the smaller man’s shoulders. “Have you offended the lady already, Mole-man?”

His eyes are sharp on mine, but I’m not reading him as a threat. I crinkle the corners of my eyes and lift the corners of my lips. “I might have overreacted. I’m not from around here.”

“A tourist! And what brings you to our fair shores?” He lets the mole-man duck away to his beer, and I congratulate myself on finding a guide to the city. Next on my list: shoes, then secure accommodation. Then trouble.

“I’m from the Mystic Moon. This just happens to be where I landed.”

“I see. Then we should give you a warm Gaean welcome to celebrate your visit.”

He gestures to the barkeeper and moments later a waiter brings over something that smells of alcohol and honey. I’ve joined him at his table, with him as buffer between me and the mole-man. “So what do you know of the wonders of Gaea?”

“I’d love to see a guymelef in action. We don’t have them on the Mystic Moon.”

He takes my hand and kisses the knuckles. “I will see what I can do. It is likely nothing can be done until the morning, though. How can I keep you entertained until then?” He makes eyes at me over the hand he’s still clasping.

I smile crookedly at him. “It would be wonderful if you could explain the origins of the music the band is playing. Maybe show me how one dances here?”

He leads me awkwardly through a few dances. After the first few, either I pick up on the steps or I’ve had enough to drink, as they’re no longer awkward. It helps that someone sees my lack and hands me a pair of worn red dancing slippers.

I keep dancing – with other partners, once I know the steps. As the night’s drawing to the time when people are usually retiring to someone’s bed, I drift back to the gentleman who’s bought my drinks. I have nowhere to go, and novelty apparently amuses him.

“A seaside market town must have a market at dawn.”

“Of course, my lady. Mostly fishmongers and those who sell to the later tradesmen, but I would be most happy to show it to you.”

“Can we go now and walk along the waterfront?”

“Of course, my lady. I would benefit greatly from a few hours sleep, though, if you wouldn’t mind. We could then see the later market, which has many attractions other than raw fish. Have you anywhere to go?”

“No.”

There’s a pause.

“My room has a chaise. Hardly fit accommodations for a visitor from the Mystic Moon, but it has grown rather late to make appropriate arrangements.”

I nod, and find myself catnapping on a brocade-upholstered chaise longue under the light of strange stars.

When I wake, the morning sun is casting long shadows. I have no frame of reference for how early it is. I know I’m up before my companion: I always am.

I dig in my bag for my hairbrush and rebraid my hair. I could almost leave it down, but if I get into all the trouble I want, loose hair will just get in the way. I read for a bit as the sun rises higher.

Eventually, he emerges, fresh-scrubbed and clean-shaven, and looks surprised that I’m awake.

“Can we go now?” I ask.

“Yes, my lady. Let me just get a runner to take these messages out.” He ducks his head into the hall and shouts for a boy with big sad beagle eyes and a swooshing tail and hands him the messages and some coins.

We set off for the market, and the city is different in daylight: smaller and dirtier. Seagulls turn overhead. The market is interesting, and reminds me of the one outside Leeds except with more fish. As we meander the stalls, runners periodically approach my companion with missives that he reads and replies to with quick scrawls on the page.

I am aware of his eyes on me, but I’ll get what I want out of this, so it’s okay.

The Earth trinkets I see sprinkled in with Gaean merchandise are few and far between, but they’re here. A Mickey Mouse watch with a blank digital face being sold as a bracelet. A MetroPass with sixty-three cents still on it billed as a holy relic. I have him buy me coffee and something like baklava and eat it as I walk before sucking the honey off my fingers.

The sun is waxing noon when he grabs my arm. “My Lady, we’ve been invited to the Palace for luncheon and a demonstration of guymelefs. We should probably proceed there directly.”

“Sure.”

The walk to the Palace doesn’t take long once we pick up the pace from a lazy stroll. Once there, the guards usher us in without so much as an introduction. The dining room we’re escorted to is open and airy and occupied by a squat round king and what looks like a dehydrated weasel but turns out to be my companion’s father, another merchant prince.

“Ah, our visitor from the Mystic Moon! Tell me your name, child.” The King is expansive in his welcome.

I hesitate a moment. I don’t remember name magic here. “You may call me Eileen.”

“Lady Eileen, you must come sit by me and tell me all about the Mystic Moon. It’s a shame the Fanelian King had business outside the city: he’s been on a state visit after his own encounter with a girl from the Mystic Moon. They say she had magic powers of divination. Is that true of all of you?”

I sit, and a footman pushes in my chair for me. I wish vaguely for a long skirt to smooth rather than practical black pants. I smile at him, not bothering to let it reach my eyes. “I have a tarot deck with me. Would you like to judge for yourself?”

“After lunch, I would be delighted.”

The older of the merchant princes has a voice like oil. “Such a rarity! I am sure most of Gaea would be entranced to meet someone from the Mystic Moon.”

“I don’t know how long I’ll be here,” I say, warning flags going up.

He has a smile I’d like to punch. “We must try to persuade you, then.”

The sheer volume of guards stationed around the room suddenly strikes me as menacing and claustrophobic. But overt displays of force wouldn’t do them any good: as far as they know, I’m completely in their power with or without ostentatious armed guards. It’s overkill if it’s meant to contain me, and silliness if this is standard.

Lunch is served, and we converse over our plates. The weasel only references putting me on display once more before his son sends him a sharp look. I ask them to explain Gaea’s geography just to have a concrete topic.

When lunch is over and the table cleared except for our glasses, I dig out my cards. It’s a mini pack, wrapped in a plastic bag because the box is ragged and the cards fall out. I shuffle three times before proffering the deck to the King. “Would you cut the deck, please?”

He lifts part of the deck away and I tuck it in at the bottom before laying out the Celtic Cross spread. I look up the cards in the little guide that came with the pack as I go. My memory is shoddy, and intuition rather than perfect memorization is what lets me spin the narrative.

“Let’s see – you’re in the middle of unexpected events, with new enterprises and new gains on the horizon. This leads to eventual success and financial gain, coming from a disastrous affair in the recent past and chaos and failure before. In the immediate future, though, you are going to make a very foolish choice.” I glance ahead in the reading, already suspicious of what it will hold. Oops, yeah, there’s the Queen of Swords. As if I needed confirmation.

“Greed is a motivating factor, but will be countered by a woman. The financial victory will be hollow and unsatisfying, and you’ll feel alone.”

I smooth my face before I meet the King’s eyes. He looks mildly perturbed but thoughtful. “Most interesting. Now, Dryden informs me that you are fascinated with our guymelefs, so I have put together a display for you.”

It occurs to me as we all rise and follow the King that I am as tall or taller than most of the people here, including the guards. We pass through courtyards and airy hallways to an amphitheatre with arched entryways the size of McMansions. There are chairs set up on either side of the throne, and on the opposite side Escaflowne observes the proceedings from a plinth built into the edge of the gladiatorial pit.

We seat ourselves, and two mecha that look like pirates assembled from spare parts emerge and go through a staged sort of duel. The one with a bullwhip as thick around at the widest part as my wait disarms the one with the cutlass, then turns and bows to the King. As he rises, he reaches forward and grabs me, chair and all.

I’m frozen. I can’t even scream, because this is a wholly unexpected tack. As I rise in the air, the chair falls far, far down to splinter on the sand, and I close my eyes and cling to his metal thumb. I really, really hate heights. The next few minutes are not going to be fun at all.

He turns his hand to cup me in his palm and brings me close to the faceplate and leers. “Handing you over to Myden in a cage is going to get me a bag full of gold, girlie.”

I fumble in my bag while maintaining eye contact and grab a packet of Emergen-C. They’ve got the little indents where you’re supposed to tear, so it’s easy to glare at him while I rip it open.

“I know exactly what I’m worth, and you were underpaid.” I toss the contents of the packet at his eyes and slide free of the guymelef’s hand as it convulses reflexively.

I don’t have time to climb down carefully, but I will likely break a lot of bones that I am quite attached to if I freefall from this height. I wish I’d put on my mountain biking gloves. They’d protect my hands, at least. I grab the edge of one of the plates on his arm and swing myself more towards the guymelef’s torso. I realize that I’m letting out a litany of giddy swearing only as it stops when I slam into its torso chest-first.

Someone near the King is roaring outrage, but I have no time for any of them, because there’s really not that much in a packet of Emergen-C and he’s going to grab me again in a minute. I’m still falling, but the ground is approaching way too quickly. I manage to land in an instructor-approved fall position, and no white-hot spikes of agony rear up to tell me I did it wrong.

I run windedly for Escaflowne.

It’s supposed to only respond to the blood of a Fanelian king, but fuck that noise: I’m PK. I dig in my bag for my fork with a hand that’s already shaking. There are steps up the side of the plinth where Escaflowne sits, and I take them two at a time. The pilot of the guymelef has realized where I am, and he’s coming for me. I reach Escaflowne’s thigh and run atop it to where the energy core sits dormantly red.

I take a deep breath. I look behind me. I stab myself in the base of my thumb with a questionably clean fork. Tears well in my eyes and I squeak a bit, but I jam the fork in my pocket and stick my bloody hand over the energy core. It lights gold-purple, which is probably not a good sign, but the cockpit opens.

Go me.

I slide in and put my bag in my lap and grab for the controls. The cockpit closes up with me in it, and I worry for a moment that it’ll crush me to death. But it rises as I will it and the sword swings with my arm and there is lots of shouted panic.

The bullwhip falls to the ground, severed near the hand. I don’t want to keep fighting, though. I want to disengage and go see what this thing can do.

I duck into the guymelef-sized doorway that seems to face the sea most directly. It opens to a hangar where unmanned guymelefs who have not earned pride of place sit waiting, but the far door is lit like freedom. It opens to a cliffside road, but I head straight out over the cliff.

Once in freefall, Escaflowne stretches and rearranges. Plates slide and the leg controls retract and it reshapes itself around me until I am riding the dragon out over the sea. The afternoon sun sparkles on the ocean and I am free, free, free above it.

I throw my head back and laugh, then direct my attention to steering with my abused hands.

The first hour is like the first hour sailing: hyper-awareness of the controls and nervousness that I’ll end up in the water under a great lot of machinery. From the second hour on I’m trying to remember if anyone but Fanelia and Zaibach had flying guymelefs, and contemplating how likely anyone is to have anti-aircraft guns. But I’m contemplating while driving a mostly-mechanical [i]dragon[/i], so I’m pretty okay with that.

As the sun sets, I head up towards the mountains. I want to keep watching the sunset as long as I can, and if I can gain elevation at the right pace I could maybe drag it out for hours. It’s getting chilly and the trees are thinning and I’m thinking this may be as long a sunset as I can manage when Escaflowne goes into a dead drop.

A scream boils up and I try desperately to regain control, but Escaflowne is headed straight down into trees. I brace for impact, in full awareness that I am probably going to die.

Escaflowne hits the ground and rolls and I am flung clear.

I lay very still and stare up. Slowly, and listening for crepitus, I turn to look at Escaflowne. It’s mecha-shaped again, kneeling in front of – I squint – a kid in a red tank top with floppy hair all over his face. I turn again to stare straight up.

Booted footsteps approach and there’s a sching of steel, and a sword is levelled at my throat.

“What were you doing with the Escaflowne?”

“Hello, your Majesty. I was escaping Asturia.”

“I see,” says Van Fanel, King of Fanelia and hero of my favourite cartoon. “How did you pilot the Escaflowne?”

I proffer my still-bloody hand. It’s not all that much bloodier than the rest of me, which is annoying, but the tine-marks are still clearly visible. This shirt is probably a write-off. He looks at my hand, then puts his sword away. “Interesting. Come sit by the fire.”

He asks no questions beyond, “Would you like some?” as he offers me a skewer of some kind of barbecued meat.

I volunteer, after a while, because he should probably know that Escaflowne recognized its true master when it crashed me here. I also don’t want him to think I’m an absurdly awful pilot, because it’d be nice if I could take it out again, this time with permission.

In the flickering firelight, eventually I drift to sleep on the ground.

*

I wake in sunlight, and determine quickly that I’m on the roof of my condo building.

Back in the real world, I take the inside elevator back down to my floor.

Cultural Narratives

I’ve brought up the concept of cultural narratives a few times, without ever explaining what exactly I mean, and I said here that I’d explain them eventually.

This is very nearly what I’m talking about, except that it doesn’t go into depth on the kinds of narratives we expect when we are thinking fallaciously.

The whole concept of the ‘friendzone‘ is one example of this. The gentleman* in question is usually operating along the assumption that his story goes along the lines of ‘boy meets girl and is nice to her and she falls in love with him and they live happily ever after.’ The object of his affection is usually a girl who is operating along whatever narrative she had assigned to herself before she met a new person – sometimes a love story in which she has already cast the other protagonist. When the two people are not experiencing the same narrative, both parties get frustrated – he sees her as a mean person who friendzoned him, she sees him as a creepy ‘nice guy‘ who thinks women are vending machines into whom he can deposit ‘niceness’ in return for affection.

Romantic comedies, and most romance novels, enact the narrative the gentleman is acting from. We reinforce the expectation of reciprocity every day. Partly that is because rejection sucks, so we want narrative reassurance that we will not be rejected. But rejection doesn’t suck as much as being a terrible person.

Another example of cultural narrative is that if you work hard and go to college, you can expect a good career when you are finished. All commentary about that narrative can be found by looking up a three-word phrase: Occupy Wall Street.

Cultural narratives provide a visual context for a lot of things, as well: tattooed people in leather on motorcycles are recognized as associated with Sons of Anarchy or the Hell’s Angels, even if they’re there for BACA. The expectation and association there help the members to do good things.

Similarly, in writing, cultural narratives can be a crutch and lazy awful writing that perpetuates stereotypes and the worst aspects of our culture, or they can be used deliberately and with purpose. Or both! But I will probably judge you if it’s both.

*Gender assignations are made in line with the complaints I’ve seen from people on both ends of this narrative. Majority and opposite pronouns make stories easy to tell.

Meta: April

This was written for a contest, under deadline. There is not nearly the usual level of context, subtext, and pop culture reference because of this. Basically I wanted to write silly fluff with the subversion that not all drunken escapades end in sex or jail.

Of course, in my head they go on to fall in love and produce ridiculously successful projects together, the latter being more important than the former.

Oh! Just noticing: male romantic lead was given a Hispanic-sounding last name because I wanted to write non-white characters because it had occurred to me that I used a lot of WASP-sounding names even when I had no particular idea of race when writing characters.

Fic: April

Light and sound and fizzy fruity blood. She laughed as the room span, and drank again. It was a good night.

**

She didn’t recognize the room. April sat up, clutching her head and half-closing her eyes against the light and the hangover. The night before was a swirl of colorful drinks and bright lights and loud bass and cologne.

It occurred to her to check for another occupant in the bed.

There wasn’t one.

And she wasn’t naked, surprisingly. She was wearing a man’s dress shirt and her own panties. No bra, no sign of her dress.

Water. Definitely the first priority. It felt like something small and disease-ridden had crawled into her mouth and drowned in all those fruity drinks.

The room didn’t quite look like a hotel – everything was stark white and air, and all that shaded the windows were thin drapes, not a black-out curtain in sight. It was also bigger than most single rooms, a white-leather seating arrangement grouped on some kind of shaggy area rug across an uncomfortably wide stretch of tile. April walked to the windows and pulled apart the drapes, determined to orient herself in the city by the skyline. This was her city, she knew the views, she’d designed the billboards on a lot of the roofs. April stared out over the balcony to the city, a bit perturbed that she was noticeably higher than everything else. With the buildings she didn’t see, that meant she was in Valdez Tower, near the top. Not a hotel, then. She’d broken one of her cardinal rules and gone home with someone.

She wondered what had happened, unease settling into her stomach and making the queasiness of her hangover worse. April resumed the hunt for water, making her way to one of the two white doors near the seating area. The other opened, admitting a tall lean predator with a breakfast tray. His gaze flicked up to her, and he set the tray down on a table and dusted his hands together. “Oh, good, I’d hoped you were awake. I wanted to discuss those marketing strategies you brought up last night in more detail.”

April was still asleep. Had to be. Anthony Valdez had just brought her a breakfast tray. Two glasses of juice: at least some of it was meant for her. “You realize I was completely trashed, right?”

“Oh, yes. Have a seat. I brought Tylenol.” He folded his long frame into one of the white leather chairs.

“You realize I was completely trashed and I work for a direct competitor, right?” What the hell had gone on? She woke up with her clothes mostly gone in the bedroom of Chicago’s Most Eligible Bad Boy (really, there were polls), and she’d spent the night talking marketing strategy? What was wrong with her? What was wrong with him? What had she been drinking?

“You said you’d quit for a chance to be my publicist. Of course, you also said you’d be happy to get paid in alcohol and wings, so I wanted to make sure you were still solid on it this morning.” He quirked a smile at her, the mocking edge to it slight but there.

She must have been really, really trashed. She hadn’t blacked out since college, and had never been that gone. Why had she been drinking that hard? “Where’d my dress go?”

“You threw up on it. I sent it out for cleaning along with my pants, which you also managed to hit.”

April winced. “Sorry.”

He seemed almost to be enjoying himself, or at least her discomfort. “Not a problem, especially if you can deliver as a publicist. Still think I can up condo sales by volunteering for Habitat for Humanity shirtless?”

"True Writers"

I spend entirely too much time on writing forums. Frequently, new writers trying to define themselves in relation to their writing pop up. The endless quest for identity and the re-mapping that comes from new interests leads entirely too frequently to discussions of what makes a ‘true writer’ or a ‘real writer’ or what differentiates a writer from an author.


Sometimes, I feel the need to contribute concrete instructions to discussions that have become murkily existential. Thus, my recipe for a True Writer:

  • 3ccs unicorn blood
  • 3L bourbon
  • 300mg of Diazepam
  • at least one quill pen for every day of the week (only crow feathers may be used if completing recipe on the new moon; any will do at other phases)
  • 200mL India Ink
  • 1 dragon placenta (whole)

Crush the Diazepam and mix well with the India Ink and unicorn blood. Heat to precisely 333K in a copper saucepan. Exceeding this temperature will result in Romantic Poets; falling short results in postmodern photographers. A candy thermometer is recommended.

Remove from heat and slowly stir in the bourbon with a wooden spoon (not olive wood under any circumstances).

When mixture has turned blue, fill quill pens with mixture and carefully insert them into the dragon placenta. Do not spill.

When mixture has all been transferred, bury the placenta on unconsecrated ground. Cook for 30 minutes.

Serves 4 as main course, up to 8 if used as a genre writer.

Meta: kiss the golden cross for luck

It’s poetry time again, which pretty much translates to spot-the-reference time. This was written for a writing contest in the summer of 2010, and was my first sestina ever. I think it was the first time I thought of form poetry as akin to Scrabble: you have a set of parameters and a set of tools, and you put together the tools you have according to the parameters, individuality dictating that everyone puts them together differently.

I cheated a bit – ‘this’ is quite simple, and I used ‘more’ once instead of ‘oar’ and ‘see’ once instead of ‘sea.’ The part I’m quite proud of, though, is my use of ‘amber’: it means three different things at different places in the poem. I felt quite smug in that, even though only one of the judges caught the reference to Roger Zelazny’s fantasy realm, and wasn’t entirely sure that it was a reference I’d meant to make.

The metaphor about escape to a more enlightened/licentious place is semi-coherent at best, except for the first stanza, where we have some requisite rejection of Catholicism in favour of Druidic tradition. In the fifth stanza that gets rejected, too, because what’s a traditional poetry form without explicit rejection of most forms of tradition?

Poem: Kiss the golden cross for luck

St John would not approve of this
But Carmelite interdiction and it’s discipline of mind
have passed on down the river of tomorrow
as we keep paddling upstream on hazel oars
fiercely always away from yesterday’s sea
into the mountains of Amber

when the evening light has turned to amber
and the world has been reduced to this
a mooring post upended above a starry sea
and the day has driven all from mind 
reduced communication to whispered ‘more’s
our hedonism will be less delirious tomorrow

slow as golden syrup dawns Tomorrow
a naked moment to preserve in amber
reluctantly we dress and put our oars
to water, reducing the world again to this
a battle against the current, mostly of the mind
narrowing the world to what we can see

Today is one day closer to the sea
we paddle hard to get through Tomorrow
as the sun wanes afternoon the current rises, but we don’t mind
the sliding sun has turned the water amber
we set out for hours like this
no distractions but the dipping of our oars

green wisdom tries to sprout from our oars
whispering of submitting to the sea
with joyful defiance we deafen ourselves to this
tomorrow bleeds midnight to the day after tomorrow
as we refuse to be fossil-amber
and cling fanatically to freedom of mind

As we round a bend to morning we mind
that we cut the water cleanly with our oars
paddling through the night has cost us clarity but put us close to Amber
and far distant from the sea
we’ll land the day after the day after tomorrow
and see everything; the miracle is this.

Amber frees our minds from constant paddling, opens up to roads paved in slightly sacrilegious gold
Eternal city means we watch as this river carries our oars downstream
Down to the estuary where everyone lives, somewhere between tomorrow and the sea

Magical Thinking and Creativity

Sometimes my friends spark ideas for blog posts, like Pat’s post about magical thinking. Because I didn’t want to clog his comments with my endless fonts of frustration, I skedaddled over here to talk about it.

Magical thinking is a logical fallacy: specifically a causal one, where the relationship between cause and effect becomes blurred. Common examples include the traditional belief that plants shaped like a human body part would have healing properties for that body part, thinking that speaking of the Devil invokes his presence, and thinking that writing is reliant on a muse.

Sometimes it can be difficult to write, or difficult to write well, when one is not in the right mood. I usually just work on something else – a different project, art, knitting and watching Battlestar Galactica. This is not because of some elusive muse. This is because I am cranky and, nine times out of ten, too lazy to go through thinking exercises to get into the right mood for a particular project. If you are less lazy than I, reading about Feeling Rational or How To Be Happy or The ABCs of Luminosity might give you tools to consciously take steps towards being in a mood more conducive to writing. If they don’t do that, they will hopefully at least distract you: I consider rationality articles a worthwhile distraction, because they add to my knowledge base.

Another common piece of magical thinking is to trust the story. This is a mixed piece of advice. If I am sitting down with no idea in mind but an image, I can write that image, but not a story. If I start on a story, it goes nowhere and is generally awful. I have yet to encounter anyone who is able to write a story just trusting it, with no active planning on their part. On the other hand, if I have thought through what I want to happen at the end, how I want characters to interact, how things will interact, I feel like I can trust the story and just write without consulting an outline frequently (or sometimes at all). If I have thought it through, the story is my creation, and I am trusting myself to follow through on my idea.

I do not ‘listen to my characters,’ as I do not experience psychosis. If I am having difficulty with having a particular character do a particular thing, I sit back and take a moment to examine my characterization. Is this in line with this character’s motivations? Abilities? Am I taking an unexplained and rapid shift in character? Sometimes I have misstepped in characterization, and then I go back and fix it, but it is a matter of recognizing it as a flaw in the writing, not as making imaginary people do what they don’t want to do. There is frequent talk of characters and having them live in ones head, but I really don’t like that, because of my next point:

Creativity and mental illness are frequently conflated. There is some science to a correlation between creativity and some mental illnesses such as bipolar disorder, but correlation does not imply causation. Feelings of alienation in general, which can sometimes stem from a feeling of other-ness caused by diagnosed mental illness, give people something to write about. Alienation is impetus to connect through art. But mental illness is not the only way to be alienated, and alienation is only one form of impetus. So people really need to shut the fuck up with “all writers are crazy” as their tittering justification for affected eccentricities. Not only does it otherize creative people it diminishes the import of a diagnosis, and also contributes to the proud declaration of mental illness from teenage writers who have nothing more diagnostically viable than Teen Angst. Teen writers loudly declaring their darkness of soul make it harder for teenagers actually sinking into a pit to be noticed. Cultural narratives of mental illness and creativity as synonymous are damaging, and we need to stop it. Eventually I will have a post entirely about cultural narratives, but today is not that day.

I’ve already written about Writing What You Know, which is not always magical thinking, but is still an aphorism frequently bandied about to limited good effect.

Another piece of magical thinking is that drugs or alcohol or otherwise altered states help with writing. Some of this can be blamed squarely on Jack Kerouac and the Beat artists. Altered states do not intrinsically help with writing or other creative efforts. The only thing they might help with is in lowering inhibitions. For example, I have been known as of a summers evening to sip Kahlua and hammer through a bunch of critique. The critique is snarky, but it goes quickly, because I don’t second-guess myself. I try not to write like that, though, as I have to go around cleaning it up in the morning, which is boring.

Are there any frequent instances of magical thinking that I’ve missed? Let me know below.

Meta: Violence and Violins

I got an itch to write, but didn’t want to work on any extant projects: I was too restless to refer to an outline, and couldn’t think of anything in particular I wanted to write about. So, as usual, I badgered the first friend I talked to for a prompt.

He told me violence, or violins, or violence with violins.

We know each other from the Homestuck fandom on Tumblr, and then through talking on Skype. In Homestuck, the character Rose plays the violin, and the character Dave is associated with swords and is the ‘Knight’ class in the game they play, meaning that to me he is associated with violence. He also has time-travel powers and deejays, to explain some of the other references.

Rose is a passive class in the game they play, which is why I left her up on the tower. She is also associated with light, and with communing with things that live beyond the stars, which is how that symbolism sneaked in there.

The story itself takes place between events shown in the comic, and is meant to be one of the possibilities that could fill that gap.

The whole tone is somewhat ethereal, which was what I felt compelled to write at the time, but might not be the tone I’d use if I were to make it longer. The tone fits well with Rose, except that her writing is a lot more verbose. The exception is the metaphor about drunk surfers, which is more in Dave’s voice. He’s fairly verbose, too, though.

I think I caught the tone I wanted, even though it wouldn’t be quite the same tone as the comic. It got the writing bug out for the evening, and my friend enjoyed it.

I probably could have done more in depth characterization, but that’s one of the joys of fanfiction: Homestuck fans would already immediately recognize them.

Fic: Violence and Violins

The stars are cold overhead, and he can taste their distance, because it is measured in time.

She plays a dirge for the moon, and he records it to later make a battle hymn. As she plays, the strains of violin ghost through the city, and the Dersites look up. Identical smug tics drag up the corners of their mouths before their faces smooth to default. The crypts won’t be well-guarded for long.

The light of the constellations fluctuates with her tempo, their infinitesimal flickers declaring ‘soon’ for a value of soon whose picoseconds are engraved on his bones.

He jumps easily from the signal tower to the main portion of the roof. It’s only twenty feet. It won’t do any good if they’re allowed to interrupt her. There’s only one door that opens onto the roof, and only one fire escape that leads this far up. They are spaced such that he can keep an eye on both, and he does. He needn’t do more than that, not yet, so he stands with his hands in his back pockets and his shades firmly in place.

There will be no flashstepping tonight. He is here to defend and protect, and it’s not the drop to the street that he’s protecting. The first Dersite bursts through the door like the door did her a personal injury, then slows as she sees Rose up on the signal tower. She walks forward entranced, weapon in hand. She walks forward almost into Dave’s arms, but encounters Caledscratch instead.

They come in waves, lured by a melody they can’t escape. They fall like drunk surfers, unwilling or unable to pay attention to the steel and stars cutting them off from their goal.

He is sweaty and covered in blood not his own, and her melody has changed, no longer hitting high notes. The waves have slowed. They will not be ambushed on their way to their goal.

She floats down to join him, and blood leaks down her face where a string has snapped and recoiled.

He takes her hand and they take their tumor to the crypts.