caper_est: The grey wolf in the red gloaming. (three katherines of allingdale)

The Bridge to the End of the Night: 475 words of, eh, bridging passage, summarizing a long and often hair-raising afternoon's conversation, whose details I don't want to dump upon the reader beyond giving the general context and flavor.

The voice of this story, like many others in the Kateverse, comes out rather more archaizing in the first draft than it probably ought to be on completion. There's a quote with Katy talking overly like Katy-from-her-own-legend, and I'll want to amend that on the first-pass revision I'll perform on the Prologue once I've finished it.

The theme of the uttermost bridge pervades this tale in various guises, and I think the climactic scene I'm leading up to here is going to contain its first appearance, or at least its strong foreshadowing.



caper_est: The grey wolf in the red gloaming. (golden kate)

Killer-Kate and Luke Lackland: A breakthrough!  I've finally teased apart the threads of the infamous Four Agenda Pile-Up at Garcastle.  Lord Evil now has something to do that is... worthy... of him; Relatively Okay Genius's masterstroke, disentangled with few changes from the former muddle, shows up as much more shocking and brilliant; and there is lively and desperate action to replace the worst passages of talking heads and ominous introspections.  The cost of all this is another chapter in the middle, provisionally dubbed Hell-Stalk.  That's the third, now.  Even at an optimistic estimate, I'm going to have to allow a month for this trio.  Depending on how the rest of the revision goes, the Easter deadline may still be attainable.

Coming to the end of the political critique now.  By this weekend, I want to have the revised structure it implies up and running.  The simpler critique of the Big Bad's thread, and the unpredictable process of trying to integrate Kate with Katy around Kit's pivotal untold story, will then conclude the structural issues, and set me free for the big new sections and deletions.  This will surely take me up to the beginning of March, when I can start the detail edits; after which, beta-reading, final polish, and submission I guess in mid-spring.

Quiet worldbuilding and fantasy for Chocolate and the Gods continues to lighten these sloggy hours, though it's not yet ready to be told directly.  Chocolate qua chocolate begins to seem an unexpectedly minor detail of its flavour.

caper_est: The grey wolf in the red gloaming. (golden kate)

Killer-Kate and Luke Lackland: At least 6 hours of the last 24, some of them very early in the morning, spent on a rigorous analysis of Lord Evil's Emergent Masterplan, and discovering...

...that it all cancels down to a 'scheme' Wile E. Coyote would have returned to Acme Co. for a warranty replacement.  In my defence, Lord Evil does jet a phenomenal amount of ink into the water.

Need an improved version, its beginnings shifted right back into the new chapter of the Debated Woods (which is presently a hole between paragraphs).  The rival plot with Relatively Okay Genius behind it needs only minor tidying, but similar time-shifting.

During the 'bored and confused' stage of this analysis, I also got my first chapter's worth of the ultimate donkey project: my comprehensive spreadsheet and index of characters and places down to the smallest.  This ought to be ready as a reference just in time for the actual rewriting.  Here we have another of those revision aids which would have been trivial to do as I went along, but whose need I didn't foresee in advance.  Next time!

caper_est: The grey wolf in the red gloaming. (golden kate)

Killer-Kate and Luke Lackland: Making castles less EFPy and lords less idiotic since early yesterday evening. 

Garcastle was way top-heavy, and my always-shonky first move in the fall of Carrowglaze is pretty much officially a stumble.  I think I'm going to have to enlist at least one of the marginal, late-mentioned players in Langdale - the ones I'll here designate the Bookdrake, the Thresher, and the Great Gull - and have my heroes hitch a ride on those operations, established for purposes that run clean across their own.  The Knifewitch can't possibly carry that load without help, in the time she's got to work with.  I don't see how anybody could.

I now have to add some additional sense: some consistent and logical account of the long-standing grudges between the lords of Allingdale and Langdale.  To date they've pretty much been a plastic excuse for random things I've found necessary along the way.

About halfway through the political critique now.  Need to up my pace further.

caper_est: The grey wolf in the red gloaming. (golden kate)
I finished up my most pressing donkey-work on Killer-Kate and Luke Lackland, and am now the proud possessor of:

1) A complete scene breakdown, which I'm using as a template for all high-level revision passes;

2) A story calendar, which is considerably less buggy than I'd suspected;

and

3) A digest of all the political/diplomatic matter in the story, indexed by scene.

This is so that I can plunge into the first set of revisions, namely the ones which make everybody's agendas internally coherent.  (In the story, they make sense from the perspectives of the people involved, and evolve over two or three eventful months.  In the real world, they evolved over two or three years, and the plans I started writing aren't altogether the same as the plans I brought to a conclusion.  Also, I occasionally lost track of some of the multi-decker whoppers the Duelling Diplomats are exchanging in the background.  It's all right for the reader to skim that - background, and all! - but not for it to disintegrate when the reader does look twice at it.)

And now I'm started.

This is the one job which I need to get right in order for the story to hang together and make more than impressionistic sense.  I'm giving myself a week for it, or at least for the coarse-grained corrections which are all I need to make at this stage.  Some good stuff I can't discuss without absolute spoilerificity has already emerged from the shadows in which my subconscious or my good fortune hid it.

I'm expecting to lose a big chunk of wordcount in this phase, as I remove all the repetitious speeches and diplomatic blah in which various  characters kept me up to date on what they thought they were up to through different stages of the first draft.

After this is done, the next big job will be the handling of the Big Bad, which links up with the integration of Katy Elflocks and the Great Untold Story.  Successively finer-grained stuff after that.

My sinister master plan is to have a submission-ready manuscript by Easter.

Happy New Year, all!


caper_est: The grey wolf in the red gloaming. (golden kate)
Until I started this comb-through of Lord of the Rings, I'd forgotten just how much of this Tolkien manages to pack in. You can hardly turn around at any point in the first book without falling into another bout of it. The fact that this impression never particularly lingered until I went looking for it, suggests that it's very well integrated indeed.

If exposition by loremaster routes large numbers of secondary stories through a single master-node, peer-to-peer exposition distributes them widely amongst whichever nonspecialized characters are appropriate. The technique can be as direct as having characters walk offstage, and return with a more or less condensed description of what happened while the reader was following the main story; or as devious as having them tell a secondary tale which is only relevant at a slant, at just the point where the reader needs to hear it. Sometimes the story might be more important for what its matter or its manner says about the character, or about a way of looking at the world, than for any content of its own. Sometimes, though not in Tolkien, it affords a convenient way of lying to the reader without making the actual narration unreliable.

Peer-to-peer exposition in Tolkien, and its several subtleties. )

Reflections on p2p, with its uses and absences, in my first draft and going forward. )

General thought. Peer-to-peer exposition seems naturally best suited to broad-canvas stories with large, strongly-differentiated casts and well-distributed character agency. This certainly describes Lord of the Rings. Three Katherines is deliberately a far more parochial tale, but the landscape is deliberately denser; and Killer-Kate has that feeling of broadness to me in a way that Katy Elflocks doesn't, because its threads diverge and rejoin so much. Does anybody else find this connection between the feel of the story and the method of the exposition a natural one?
caper_est: The grey wolf in the red gloaming. (golden kate)
"Last night you began to tell me strange things about my ring, Gandalf," said Frodo. "And then you stopped, because you said that it was getting late, and we still had another sixteen pages to go..."


Well, nearly!

Tolkien loves this technique, as well he might, being no little of a loremaster himself. Lord of the Rings is full of the beggars. Gandalf, Elrond, Tom Bombadil, Aragorn, Galadriel, Treebeard - and Faramir and Bilbo and Merry and Frodo himself, on a lesser scale - all serve this function at some point or another. Loremaster exposition is one of the opposed methods to maid-and-butler dialogue/As You Know, Bob: it allows one character, who knows huge dollops of stuff almost nobody else knows, to helpfully inform the reader in the process of reasonably informing the character.

For my present purposes, the main use of a loremaster is to tell a story, or the selected highlights of a story, which neither their real nor his fictional audience could otherwise be expected to know. Because they are so lore-wise, they potentially have a lot of such stories at their fingertips.

Loremasterly exposition in Tolkien, and its higher mode's aspirations to cover current and future narratives. )

On re-reading Chapter 2, The Shadow of the Past, I find whole new levels of craft in the way Tolkien breaks down this massive infodump, sets it to a compelling rhythm, and controls its tone for fascination, tension, oppression, and release. The only reason I'm not going to analyse it right here and now is a practical one - it's not very close to what I'm trying to achieve. It would be truer to say, in fact, that several features of Three Katherines are a reaction against what it represents. Let's turn now to what I hope to get out of this.

Survey of loremaster exposition opportunities in Killer-Kate and Luke Lackland. )

So I don't get to do much exposition of secondary stories by loremaster at all in Three Katherines - and what I do, is not likely to come from the mouths I expected. My takeaway is to focus on Elegant Elder Sister where that needs doing, and to a lesser and highly specialized extent on: Shiny Lurker, Hero-Father, and Mostly Okay Genius. Hm-m-m!
caper_est: Sharpening the quill (writing)
I've just run across some excellent posts on the subject of Mary Sue and her variously-named male equivalent - that Very Special Character, arising from the world of fanfic, who can scarcely be better described than in these words of [livejournal.com profile] blackholly's:


Spock gets a long-lost daughter with purple eyes who's an even better doctor than McCoy and when she arrives, Kirk instantly falls in love with her and makes her captain in his place. She takes them to the planet of the Sparkle Ponies where she defeats Khan with her beauty and that of her new glittery equine friends.

Heh! But also not so much heh, because here are some good cases made in that very article and several others within the same conversation, to the effect that 'Mary Sue' has become a lazy and insidious way of dinging on female characters disliked by the reviewer - most especially, female characters written by women - in ways which are both unfair to said authors, and in danger of limiting the public supply of awesome female characters. All sorts of subtleties of the true and false Mary Sue Effects are explored in these discussions, and I highly recommend all of them. In chronological order:


You Can Stuff Your Mary Sue Where the Sun Don't Shine, by Zoë Marriot (Aug 1st 2011)

Ladies, Don't Let Anyone Tell You You're Not Awesome, by [livejournal.com profile] sarahtales (Aug 4th)

Ladies Ladies Ladies, by [livejournal.com profile] blackholly (Aug 7th)

I Know a Little Girl and Her Name Is Mary Mac: the Misuse of Mary Sue, by [livejournal.com profile] seanan_mcguire (Oct 11th)

What Would Mary Sue Do?, by Zoë Marriot (25th October)


Here is my head hitting the desk, repeatedly.

My only real addition to the debate concerns the case where the name's deserved. I think one good test for whether a character is a genuine Mary Sue/Marty Stu or not, is whether they have the defects proper to their virtues - or, indeed, the virtues of their defects. If what is wrong with them has nothing to do with what is right with them, except to serve as a foil for the sparkly shininess of it, this is a warning sign. And if their most salient flaw is wangst, and yet they are in no other way anything of a wanker, that is an enormous neon warning sign flashing DANGER WILL ROBINSON DANGER !

At the age of thirteen, I independently invented the concept of fanfic and the character - but not, alas, the concept! - of Marty Stu, as a side-effect of the dire worldwide shortage of new Pern books. To encounter him at the age of thirty as a known public nuisance was both a revelation and a sort of relief, not to mention a salutary reminder. But if his sister is now being seen more often in pieces of vaguely girl-cootied speculative fiction than the Virgin Mary has manifested in pieces of vaguely toasted bread, then it may be that the pair of them are coming to the end of their useful work as Awful Warnings.

Either that, or Marty is going to have to start pulling more of his own weight. Which one, eh?
caper_est: caper_est, the billy goat (Default)
In The Lord of the Rings, Tolkien has so many intricately detailed secondary stories which require exposition, that he uses just about every single expository technique on Earth, and several in some pretty exotic orbits. I think this variety is one of his strengths, because of all narrative techniques, exposition is one of those which get oldest fastest. And the richness of this particular story demands a lot of it.

What is exposition? Back to basics:

...most complex compositions fall into the intermediate zones, where only part of the imaginary tale is actually made explicit - just as much, in fact, as serves a proper reading of the real one. The methods of achieving this partial telling are what I mean by exposition.
By imaginary stories, to recap, I mean stories which are not exactly told as stories at all, except in the limit as they approach reality and are glommed onto the 'real' story whole. But they are intended, essential to the overall composition, and actually presented in some clear sense, or else we don't care about them. In the next few posts I'm dealing with the expository techniques of making them somehow explicit and localized, as opposed to the incluing techniques of implicitly spreading them throughout the text.

The crudest and simplest method of exposition is just this: the narrator dumps on the reader exactly what they need to know of the exposited story, when they need to know it, by Word of God, or at least Word of Phil the Fibber whom it is pleasing the reader to stand the drinks.

Example of direct narrative exposition. )

Narrative exposition in Tolkien. )

So. What does this mean for my own project?

What it means. )

Next up, a Tolkien favourite and now a big-time genre trope in its own right: Exposition by Loremaster.

caper_est: The grey wolf in the red gloaming. (three katherines of allingdale)
First off, I'm killing that extended metaphor of complex composition as mapping its real and untold 'imaginary' stories to the mathematical complex plane. Nice provocation but useless visualization. I'll keep the term 'complex' for the use of untold or very partially told implicit stories as critical elements of a whole tale, until I've a better. This done...

I don't think like Tolkien and, enormously as I admire his work, I have no desire whatsoever to write like him. That job has already been done once, and by a master. But when looking for a masterclass in really complex composition, who I gonna call? Who else?

In Lord of the Rings, Tolkien uses just about every possible technique and level of story composition. Around the central narrative of The Downfall of the Lord of the Rings and the Return of the King - which does exactly what it says on the tin - he works huge amounts of other matter, much of which one would not expect to work in a month of Sundays, to produce a whole enormously greater than the sum of its parts. Some of this is told directly, which does not so much concern me just here, and some of it is... not. His most audacious trick of all, the wrapping of that great story around the almost wholly hollow core of The Tale of Aragorn and Arwen, makes a positive virtue of not telling a tale which suits neither his Muse nor the novel he is writing. To this I shall recur anon.

Here I want to look at the really weird things Tolkien does in the framing material.

Historical treatment of Tolkien's world, its identification with our own, and the implicit story arising when one tells a fantastic tale from within its own setting. )


Next: Tolkien's use of reduction and exposition. "Alas!" said Gandalf...


caper_est: The grey wolf in the red gloaming. (golden kate)

In between getting to grips with the top-level structural challenges of Three Katherines, I've been doing a 'survey read' of the freshly-written Killer-Kate and Luke Lackland part, almost entirely for the purpose of mapping its structure and what happens where within it. This I've just finished. I now have a ready overview of the work, which is going to come in for a lot of use over the next week or two while I let the actual text cool down.

The tool I find far and away best for getting this sort of overview is [livejournal.com profile] brownnicky's famous Circle Diagram, which represents the telling not as an extended line but as a finite circle or clock-face. It's a simple and excellent device for getting a handle on narrative rhythm and top-level form. I don't use it the same way as Nicky herself does - but I find myself using it more and more over the past few years, and this time it certainly hasn't disappointed me.

Things leaping out from this survey:

- The narrative arcs I used in construction aren't quite the same as the ones observed in the achievement. There are quite clearly four :

1) The Last Quest - moderate length, stern of pace, single of line, full of 'Descent into the Underworld' thematic resonances;
2) The Fairfields Wassail - a touch longer, more pastoral, meandering and ramifying: healing, haven, humankindness, and their complications;
3) The Rising - the crucible of the tale, longest and boldest and dominant: rising repeatedly into clash and shatter, martial in mood even in the quietly ferocious struggles between the willers of peace and of war; fog, wildfires, heroism and victory of a kind;
4) The Home Fires - about the length of the Last Quest; a bewildered start furiously accelerating to a climax, multiple plotlines all burning like fuses; resonances of the royal sacrifice that breaks the winter's heart and redeems the spring.

When I say resonances, I really mean resonances: I'm not here describing literal plot elements here. The numinous elements of this tale are more elusive, less clearly patterned in tradition, and (I hope) not drained of power by too frequent and careless invocation. To me they are enchanting and disturbing, and I don't wholly understand them: they can't, I think, be directly pressed into service as parts of something so unrelievedly concrete and explicit as a plot.

- One thing the circle diagram has shown me very clearly, and which points out its own limits, is the very different density of important events in different sections. The Last Quest is sparse and deliberate; the Home Fires, which balances it on the diagram and in length of text, is practically exploding with plot pressure and density by comparison, to the point where it's seriously inconvenient to mark off the chief content of the two arcs upon the same circle.

- I'm quite pleased with the overall shape and rhythm this reveals, and hope I can preserve a form pretty much like this in the edit. My next largish support project, suggested by the main annoyance encountered in this one, is to set up a handy tree diagram for following all the proliferating plotlines. Pruning is just going to be too difficult and dangerous without one!

Whilst constructing this, I shall be returning to my regularly scheduled top-level ruminations.

caper_est: caper_est, the billy goat (Default)

How can anybody tell a tale without telling it?

The main techniques I know for telling the implicit imaginary tales, without which the explicit real tale is incomplete, are as follows: incluing, exposition, reduction, and re-ordering. This post is for identifying them and their functions in complex composition. Virtues, pitfalls, and examples will be examined anon.

The perfect limit of an imaginary tale is one which is told in effective silence - it is implied wholly in the context of the tale that is told, and no part of it is ever told for itself. Probably nobody ever pulls this off, but it might in any case be extremely difficult to notice when it was achieved. The technique which chiefly drives a composition in this direction, is to convey the matter of the imaginary parts by incluing. This excellent term of Jo Walton's describes worldbuilding by telling implication:

the process of scattering information seamlessly through the text, as opposed to stopping the story to impart the information.
- and here I'm considering its application to suggesting another story all of its own.  The linked posting discusses some of the benefits and limitations of this technique in general, and I'd say they apply doubly or triply when the inclued matter has the character of a tale.

The degenerate far end of the same spectrum is: the imaginary tale which is rotated completely into reality by telling it. Even considered purely of itself, this is not wholly a silly paradox. The distinction between the main tale and this shadow-crafting once admitted, the suggestion arises of telling the secondary tale in a different mode - as a nested tale, or in a different voice, or even in a different literary form interspersed with the main matter. But most complex compositions fall into the intermediate zones, where only part of the imaginary tale is actually made explicit - just as much, in fact, as serves a proper reading of the real one. The methods of achieving this partial telling are what I mean by exposition. Between exposition and incluing, all the imaginary components of the desired tale must be delivered.

Reduction is a multi-level process. At the first level, it is normal editing - the removal of all matter which is not, in fact, part of any of the real or the imaginary tale(s), nor yet of their coupling. But in complex composition, it has a second level - the distillation of the imaginary tale into two fractions, one which needs to be integrated into the real tale by exposition, and the other of which may only be implied by incluing. Finally, there is the issue that the real tale is the one which will receive by far the most scrutiny by the reader. A lot of the deep structure and rationale of the imaginary tale will be, necessarily, inaccessible. Therefore, though it must be retained by the author as construction lines until final publication, and is in this sense really part of the story, a much larger portion of it must eventually disappear into the Silence of the Story than is true for the real tale, to be interpreted by the reader according to their own lights. I call this the occulted portion of the tale, and the shadowiness of imaginary tales no doubt depends very much upon it.

Re-ordering here means not just telling the imaginary story out of chronological order - a technique equally applicable to the real story. It means revealing it in an order not governed by its own internal logic, but ordering the revelations along the narrative line of the real story, according to the logic of the overall complex composition. One of the effects of doing this is severely to disrupt the flow of the imaginary story considered as story, and to replace it with a current of the real story in which the imaginary one is being revealed. To the extent that this is successfully pulled off, I'd expect it to improve the flow and apparent unity of the overall tale.

I think I've learned a good bit by setting out my thoughts thus explicitly. This may explain why this issue of complexity is taking up more posts than I'd expected. Any other perspectives on the telling (and hearing) of explicit tales, would be most timely, and warmly welcomed at this point. There's a lot I still plainly have to get my head around.

Next stop: The Lord of the Rings, a masterpiece abounding in every kind of complex compositional technique - not all of which I wish to emulate.

caper_est: The grey wolf in the red gloaming. (golden kate)
How can I tell a tale without telling it?

In my last revision post, I laid out my notion of real composition as the bringing together of multiple told tales to make a single greater tale; and complex composition as a similar exercise, but including some tales that are untold or imaginary.  All the component tales of the work are necessary (or they should not be present), but not all necessarily explicit.  The real component is told explicitly with words; the imaginary component, implied in the silences between them.

This is the way I'm presently putting together Three Katherines of Allingdale, with two explicit top-level tales - Katy Elflocks and Killer-Kate - and a great thirty-year hole between, into which I need to cast the shadow of the events that led from one to the other: Kit's missing tale, Crown of Foxfires. 

My big structural challenge - the 'Kitty Clause' - is twofold.  Firstly, Foxfires if actually told would be approximately as long as both of the others put together.  That's an awful lot of implication to fit into the negative space of the tale.  Secondly, Kate almost certainly makes insufficient sense to a reader who doesn't pick up the story of Foxfires in the process of reading it.  So the job is a difficult one, but also most needful. 

To this master shadow-tale must be added several lesser ones set in the subsequent twenty years: Kate's ruin; Luke's deeds in other guises in the far south, centred around the indomitably quixotic hero called El Alegroso, 'the best man he ever knew';  Katy's adventures in fields both strange and familiar, and the settlement of her mysterious 'Sugar-Loaf Country'; and the viciously futile Rock Candy Rising which convulsed Lower Alland in her name, not so many years before my real tale resumes.  Where these are not simple in nature, they are at least full of matter which can be left out altogether, or briefly alluded to for texture and plot pointing.  Even so, this is more imaginary load for the back of my real tale to carry. 

Foxfires isn't simple or supposed to be simple.  What the hell became of Kit? needs to be conveyed in sufficient of its twisty detail to suggest a wealth of thoughts about What the hell are our protagonists supposed to do about something like that? - and to make the final resolution of the total, complex tale as satisfying to the reader as it is to me. 

This is threatening to be a real monster of a post, so I'll pause briefly with this setting forth of how I view the problem, and move very shortly onto the concrete techniques which map imaginary tales onto real ones.

How can anybody tell a tale without telling it...?


caper_est: The grey wolf in the red gloaming. (golden kate)
In my last revision post, I discussed various ways of adding multiple complete or partial tales together, to compose a single work.  Along these lines, I sketched out the peculiar real structure of Three Katherines of Allingdale: a short subverted fairy-tale, The Deed of Katy Elflocks, whose themes are redeveloped and resolved in a long enchanted low fantasy, Killer-Kate and Luke Lackland.  The latter takes place in the twilight of its four great characters: Katy Elflocks, Kit Fox, Prince Lucas the Proud, and Golden Kate Alland.  Specifically, Kate takes place almost exactly thirty years after the events of Katy - at least, in the reference frame shared by Kate and Luke and the Wide World, which is the one that rules the overall story.

Yes, that is an enormous gap.  Moreover, it's not just a gap of time.  At the end of Katy, we had what looked like happy endings all round.  The start of Kate is one of the blackest wildest passages I've written: nobody knows what became of Katy (small surprise there), and all the other chief characters have lost practically everything, including in common opinion their lives.  This is not a normal story transition.  I could call it a deliberate inversion, pivoting on the legend of Katy, but that would be a dirty great lie.  The truth is, there is a huge hole in the middle years, because the story of them simply blew up on me.  This is not remotely the tale I set out to write.

When I decided to extend Katy Elflocks to novel length, the characters and situations it had left me with practically did the job for me.  The Grand Arc sprang up fully-formed inside a bare couple of weeks.  The structure was at that time so simple: three sequential movements, of roughly equal length with a bit extra in the middle, which I called and thought of as a triptych.  First Katy's song of a summer, short and sweet and fierce, the statement; then ten years after, Kit's story of a fall, expansive and wickedly farcical until it knotted into grand tragedy, the development; then twenty years on yet, Kate's winter's tale, of middle length and bitterest edge and dearest redemption, the resolution.  (I did not then think of it as music.)  This would have been a slightly unusual structure, yet simple enough, and little concerned with matters outside itself.  The tale really told would have been more or less the whole tale.  This, like everything I've discussed up to this point, I call a real composition.

It didn't really happen.

The Story of the Fall proved pure trouble from the word go.  The first problem to arise was multiplicity.  Kit's disaster has never been, and still is not, a single story to me.  It's an utterly Kittish thing: a mess, a thing of shreds and patches, a villainous juggling-act by a perverse genius trying really hard to leave all her stupid villainous shit behind her, and constantly tripping over the great big clown jackboots of her stupid heroic entitled husband, whom she has doomed herself to love beyond restraint or reason.  I've tried more times than I can think of to make the Kingdom side of this circus into one story, and it really isn't.  Kit just makes brilliant shit up at random, iterates, and deals with the ever-escalating consequences until her equally brilliant antagonist - Claire the Crafty, Luke's arch-diplomat elder sister - returns out of the blue, to smash her regime like a rotten pumpkin from every direction at once.  This is the way they and Luke are, and that is the only way it can possibly be.  It has every quality of a great story, except for being structured as one. 

So I moved quickly on to the other perspective on the story: that of cool, devious Claire, who is not herself a particularly good person, but who for the sake of the realm has attached herself unshakeably to somebody both good and useful.  Claire, The Rescuer of Realms, does have a proper story, and then some  - the tale of how she retook the Kingdom for its widowed queen and her unborn son, which necessarily involved playing a lot of hands of adventurer's poker without initially having any cards at all.  It's a rollicking, riotous story.  I set to it at once.  It fell very promptly to pieces, because it is a story around Kit and Luke that doesn't have Kit and Luke in it, which fills it with fifteen infodumps and sucks the life out of it like sixteen lampreys.  Mark how the issue of a story with a big doughnut hole in it has been dogging me from an early date!

Okay.  This is Three Katherines of Allingdale, after all!

I then reasoned that what I needed to do was to intertwine the two separate tales, telling both around each other, so that they filled each other's deficiencies and made one story.  This is still a story which might be told.  I call it Crown of Foxfires.  It is big.  It is sprawling and ramifying.  It is most definitely a stout novel all by itself.  And as I got some way into it, I began to see with sinking heart that there was another problem with it.  It was no longer any part of the same story as Katy and Kate at all.  It was just something that happened in between them.

Katy and Kate are about the clash between nobles and peasants on the wild hungry marges of Elfland.  Foxfires is about high politics among the courts of the powerful, even though Claire and Kit both 'cheat' by seeking strength amongst certain of the disenfranchised and despised, wherever it works for them.  The common-born queen is New Money, not Old Toil.  The tone is different, the interest is different, and so is the texture.  Perhaps the three Katherines' tales could still be made into one monster doorstop that would work, but I don't here  see how.  So - how to tell end and end, without in the interval telling the middle?

My answer here is simply to make a unity of end and end, and indeed not to tell the anomalous middle at all - at least, not as part of the same story.  The relation of the two ends, I've already described.  But their relation to the untold yet necessarily present story between, the imaginary story between those really told, is another thing again.  It holds dangers and requires techniques of its own.  I'm calling the technique of integrating a critical untold story into a told one complex composition, echoing the way in which complex numbers are built of both real and imaginary components.

The greatest exponent of this technique I know is Tolkien, and I'll be looking critically at his approach to it in my next posting, as I work on my own.  I should be more than grateful for any other examples, either of admirable success or painful failure, that come to anybody's mind.


caper_est: The grey wolf in the red gloaming. (golden kate)
Is the tale one thing, or is it many? If it's many, how do they add up to one tale after all, and what does that mean for it?

Some stories are seamless - Terry Pratchett's later Discworld books are mostly like this: they charge right in, and don't stop until they come out the other side. Further along, covering the vast majority of books to some degree or other, we get stories that are articulated out of parts, each being a thing in itself with a certain degree of closure, and often a name. Lord of the Rings has several levels of this - and so, most brilliantly and beautifully down to a fine level of structure, does John Crowley's Little, Big.

Considering the top level of Little, Big, we arrive at something a bit different - still a single flowing tale, but divided now into movements which may be set years apart and have very different flavours. This is a thought we are going to need shortly.

Finally, we get to tales that are essentially fix-ups of loosely-related sub-tales into one grander narrative arc. Tanith Lee's Night's Master is a fix-up of the closed kind, whose arc definitely concludes; Ryk E Spoor's Digital Knight offers the loosest kind of all, a simple serial fix-up whose tales progress but do not particularly conclude, the line of the arc passing over the book's horizon. Beyond there lie things that are not exactly tales at all, like Jack Vance's Dying Earth - a self-anthology united only by setting, whose order is a thing of theme and mood only. Here ends my survey. Where is my book?

At the lower level, suffice for now to note that it's like most of my stuff: articulated into chapters strongly defined and significantly named. This may be something to consider later. For now, I want to consider the top level. This is where Three Katherines starts to get peculiar. I don't have anything to which I can compare its structure directly, so I'll have to reason by feel and analogy.

My sense of 'musical movement' from Little, Big is the closest thing I have to work with, here. Overtly, Three Katherines has two 'movements', and they are neither equal nor of the same kind. Here is my immediate attempt to describe what I think is going on, written in my other blog just after completion of the first draft:

... asymmetrically divided treatment, the enchantment-shot realistic fantasy of Killer-Kate developing and resolving the themes propounded in the grounded fairy-tale of Katy Elflocks.

Katy Elflocks is about a 40,000 word novella, which I expect to expand slightly in the course of the revision.  Killer-Kate is about a 180,000 word novel, which I expect to contract significantly, but not to anything remotely near parity.  The important thing for me to hold in mind here seems to be this: they are not just separate movements, they are movements that are doing different kinds of things.  Katy's summer song - sharp, bright, finding its way to fairy-tellable happy endings by some elvish grace almost despite itself - gives way to Kate's winter's tale, of old age and old happy endings long come to catastrophe, and a revisiting and invocation of the one happy ending that was right and true. 

But Katy is about individual triumph and salvation: in Kate there is no longer any individual escape possible, and the feudal oppressions that bred the injustices of Katy must be overthrown for whole populations, or triumph over all and sink into a dreamless blood-glutted slumber.  It turns out to be a thoroughly political work, albeit of its own time and place - and fairy-tale solutions to political problems are not the kind of lies I like to breathe, even through silver. 

Then again, Katy is about going forth in the morning, and Kate is about coming home in the evening, to fulfil a long day's tale of promises before being free to lie down with one's lover at last.  The second movement differs greatly in tone, complexity, and purpose from the first; and this I have as much to bear in mind in the revision, as the fact that they are two movements of a single music which must sound out complete.

This is the tale talking now.  This is not at all what I meant in the first  place, when I was putting it together.  The collapse of my originally intended structure  has left a very definite shadow - if I prove unlucky or unskilful, an actual and devouring void - close to the heart of my composition.  To this problem, which in my previous post I flippantly dubbed the Kitty Clause, I must next turn.


caper_est: The grey wolf in the red gloaming. (golden kate)

"Little book, what are you?"

Three Katherines of Allingdale is my book - a single work, a unity, one made thing in itself. But, looking at and listening to it, my first question is: what kind of single thing is that?

In the simplest possible sense, the answer would be: this is a story, and there is nothing outside the story, and now the story is done, a glorious solitaire. William Morris's The Well at the World's End - a tale to which I shall return later - is such a story.

Way over towards the other end of the scale, we have: this is a story, and it is a segment of a greater story, though it may be complete in itself and for now. Diane Duane's The Door into Fire is an example on the self-contained end - it would still have been a good story if none of the rest of The Tale of the Five had been written. Its two sequels are less self-contained, in that each depends for effect on familiarity with what has gone previously - but each has an ending of its own, and an ending of a greater arc that includes its predecessors. Since the concluding story has now been on ice for thirty years or so, we see that this level of unity is sometimes a very good thing for the reader, indeed.

Going out beyond that point, we reach works which have less unity yet. First, the pure instalments of a larger story, in which each book is only one chunk of a serial which has certain convenient stopping-points. The three volumes of The Lord of the Rings are an example (and the six books could each have been). Lastly in the most degenerate case, we see a few things on the shelves which are not even serials, but only manageable slicings of one single tale or serial instalment. Tad Williams's To Green Angel Tower, vols 1 and 2, will serve us here.

What sort of unity has Three Katherines?

It created its setting and all the tales in it - it depends on no other work.  It closes, with one important reservation which I shall call the Kitty Clause, all the narrative arcs I wanted to close - it demands, and probably ought to have, no direct sequel.  So it must stand as a book, and a tale unto itself.

Is it a true solitaire?  No, and for two reasons.  Firstly, it's a story with an expansive setting, like Middle-Earth or Earthsea.  The 'Kateverse' (which its people call simply 'Earth' or 'the world') deliberately has lots of implications and characters spilling over the edges of the tale, and strongly invites the telling of associated stories which share a setting and a timeline with Three Katherines.  Whether these get written or not is largely beside the point: the point is that the world is not hermetically sealed off for the book's use.  I'll explore the direct implications of this anon.

Secondly, it's a composite of two sequentially told stories, and bears a peculiar relation to an untold one.  This strongly constrains what I can do with the structure, and points to one major potential pitfall - the Kitty Clause again.  To this highest level of structure, and what it means for the telling, I shall turn next.

Any other insights how books can be more or less self-complete, that I seem to have missed here?

caper_est: caper_est, the billy goat (Default)

"For a word to be spoken," Ged answered slowly, "there must be silence. Before, and after."
- A Wizard of Earthsea, Ursula K Le Guin.

"Joy is in the ears that hear, not in the mouth that speaks."
- Saltheart Foamfollower in Lord Foul's Bane, Stephen R Donaldson.

I've written about the pervasive and paradoxical uses of silence in art before. Those who find Le Guin excessively mystical, will probably feel the same about that posting of mine. But today I want to explore one particular and fundamental silence, a silence that for me comes before any serious project of revision: the space of silent regard that a creator owes their own creation, when it has become a thing of its own at last.

When I started Three Katherines of Allingdale, I didn't mean to write anything like it - I didn't even mean for there to ever be any such story. It never came into existence until I'd embarked upon the second and, as it proved, by far the longer part of it: Killer-Kate and Luke Lackland, which I've just now finished. Killer-Kate, too, is a novel very different in every way from the novella I once thought I was beginning. The early chapters are not part of exactly the same story as the middle ones, nor they the same as the final.

Less obviously, what I meant in the final chapters doesn't have ultimate authority either. Now that I have written, and there is a rough unpolished story before me, it is no longer something that I am speaking. Just as the author is dead in some sense to a work that has been released upon the world, I feel I must bring myself alive to the tale that is standing here before me, and die in some sense to all the myriad things that it might have been, or ought to have been, or that I meant it to have been, but at the last word it was not.

And so the first part of my work is not to work on the tale at all, but only to fall silent before it, not even yet engaging with more of a re-read than absolutely necessary, and plainly wait to see: what will the tale say, now I have shut up for two minutes together? What does it really sound like?

To put this on the most mundane and explicit level possible: this is a response to one of my perennial writing issues, my repeated incapacity successfully to make large revisions upon previous works. Polishing has often worked, where nothing more was wanted: major change has not. And to me, looking at the way this has repeatedly fallen out, there's a pattern in this, which can be avoided. That pattern is a failure to respect the story which was actually told, and a disposition to try to overwrite it with the better story I ought to have written instead.

But one can't step into the same river twice. If I have written Snow White Mark I, and then deal with its problems by going back and writing Snow White Mark II, that is not only an exercise tedious and full of snares in itself, but it is also not in the least guaranteed to be the better story I ought to be writing now. That is far more likely to be something like Doc Nano, or Brow White and Blade Red, or Camilla Kinnison's Dance for all I know of it. My job is not that at all. My job is to raise up the first story - not as I might wish it, but as it is - until it is ready to go into the world for itself. And to do that, like a proud parent, what I first and last need to do is put my own ambitions aside for a moment, and get out of its face, and listen.  I can turn to Doc or Cleyse or Camilla or whoever, as and when I have time for them.

Father mine and mother, my name is Three Katherines of Allingdale: thou hast made me. Hear my song!

Little book, what are you?  Little book, what are you singing?  Sing, little book!

Joy is in the ears that hear.

caper_est: caper_est, the billy goat (Default)

230 words this morning of a scene I hadn't the hardiness for yesterday after work - wherefore I fled to put the last coat of varnish on the new door instead, and pursue its various sequels.

This passage is actually part of a celebration, and done with goodwill on all parts.  But it's a mediaevaloid country custom, in a hard and dangerous place, albeit an unusually kind and free community.  When I saw how roughly the mock battle for the New Year was going to play out  ("She wouldn't know she'd won if she'd not spent blood nor tears on it," says the canny seamstress-witch Ciss Cross-Stitch in the back of my head, advising the Founder of Fairfields as to why it isn't always sensible to persuade people to behave sensibly), all my sensibilities both old-fashioned and new-fangled positively cringed.  Even my court-reared characters winced.

Which suggests to me that I have at least something right about the tone.  If a community of medieval peasant-pioneers on the ragged edge of Elfland thought and acted inside my modern comfort zone, I would certainly be getting them wrong.

Of course, too far outside the consensus modern comfort zone, and that's a potential problem for the reader.

What I'm trying to do, whether this particular scene survives the final cut or not, is to conjure a place in some ways rawly uncomfortable, and in others warm and welcoming - so that the whole should be seamless, and at best dearly desirable for the reader to visit, or at worst wholeheartedly believable in the way it speaks to my tumbleweed protagonists of 'home'.

Elsewhere, I am still being wormed, and Edward Lessingham has just turned up with wood and tools and interminably described ornamentation to fix up his half-cocked frame story.

caper_est: caper_est, the billy goat (Default)
A modest 180 words on the WIP this morning, but a less modest Plot Attack session which is lifting some of the mist from this chapter. My best advance was yesterday afternoon, when I heard the words - an outcry of Kate's, as it happens - that should in the next chapter yield the whole emotional resolution to this whole Wassail arc. Meanwhile, strange storms and wild rides are brewing on the horizon. Yay! Action!

Those 180 words got me thinking about something else. I'm perennially fascinated with questions of identity, and the special angles SF and fantasy offer for tackling them. One aspect of this is that I love to read - and to write - yarns in which people collect names and soubriquets through their lives, and are referred or alluded to by different ones in different contexts. This just happened to hit me in the face today, because Kate (no slouch at name-collection herself) has a really hard block on thinking of one major character in her current, rather than her former, guise. There's insight there, as well as incapacity.

And so I think of my love of name-play, and how such different masters as Tolkien and Le Guin work it, and how to do it without falling down. I think also of my ultimate backburner project, and my favourite character from it: the merchant-princess Luksani of Lattés-lochis-bol, most commonly called Locket of Latch, the Gilded Lily, Treasure-Bright and Perfumed Night, in whose world the free play of names is an essential part of social and magical interaction. I think of Kandakay, the beloved outlander who collects soubriquets the way weird fish-shaped ornaments on mantelpieces collect dust, and detests that popular invasion of her personal space with a fierce and silent passion.

And I think - here is where all feedback would be specially appreciated - of the trickiness of making it work. On the one hand, the richness and flow of reference; on the other, not letting the reader get confused about who the blazes Gift-Horse and the Swan-Born are, or even whether they're the same person.

My own recipe has always been play-by-ear. It seems to work well enough, but it makes it hard to analyse when it fails. Anyone else?
caper_est: caper_est, the billy goat (Default)
Fictional characters are peculiarly susceptible to funny turns in which they do something quite unlike themselves, in order to stumble in the nick of time onto the Plot Train to their next narrative destination. Whilst blogging about something else today, I found I needed a snappy phrase for this affliction.

I do believe I have just found it.

Profile

caper_est: caper_est, the billy goat (Default)
caper_est

August 2015

S M T W T F S
      1
2 3 4 56 78
9101112131415
16171819202122
23242526272829
3031     

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Aug. 21st, 2017 03:41 pm
Powered by Dreamwidth Studios