Monthly Archives: April 2012

A Gordian Knot

Today I finished a short story that I started maybe two years ago and which I’ve been wrestling with on-and-off occasionally ever since. I had reached a sticking point, and I feel I may have solved the problem today.

When I write a short story it often starts with a character, or a scene. I have plenty of scratchings and notes of this sort which may never become short stories of their own. Some of them might be chiseled and shaped, or molded into new things and added to or inserted within another project or a different story.   Many of them remain as notes or scenes or character descriptions for characters who will never be given a story. Hopefully I’ll come back to some occasionally and expand on them.

This short story started out with two characters, young boys, our protagonist and his only friend. As I wrote it I reached a point where the two characters were, I feel, well developed and the relationship between them was well-defined with a few nuances. The lesser characters with whom they interacted were shallow, as is often required in a short story where an economy of words is essential, but I was overall happy with the characterisation.

The setting was part of the world I created for my novel “Exile”, so it was well developed. If anything it was perhaps over-developed for the needs of the short story. As with “The Green Monkeys” and “A Choice of Kings”, also set in this fictional world (“The Green Monkeys” also set in ‘Talamh’), there was a challenge in leaving out some of the irrelevant detail I had developed. This is sometimes a problem for Fantasy writers and authors. Once someone has created a highly-detailed alternative world there is a compulsion to tell your readership all about it. In detail. Too much detail. George RR Martin has spoken of how important it is to use only the details of the setting that are relevant to the plot, and invented only a few words of Valyrian or Dothraki (only those that the text required to demonstrate how the languages were different and foreign). Joe Abercrombie has spoken of his distaste for maps and his novels always reference their setting with a deliberately lack of specificity. Tolkein on the other hand created a meticulous history and several languages for Middle Earth. In truth the stories of Middle Earth, “The Hobbit” and “The Lord of the Rings” were by-products. Tolkein was a professional philologist and his central concern was to develop languages, from these he created Middle Earth so that people could speak his languages; the narratives that resulted were never his intended goal, and while in many instances the detail of Tolkein’s setting is what set him apart and spawned his legion imitators really few people complained when the film adaptation cut whole chapters of Tom Bombadil out. It didn’t detract from the narrative at all.

The plot I also had mapped out. I don’t usually map a plot too early in my process. As I said the story will start as a scene or a character, I’ll build on that, hopefully develop a conflict and some complications and at that point sit down to map them out. In this instance I had an initiating circumstance, a conflict, rising complications, a conclusion, and a resolution. I knew what would happen, how each event would lead to the next, and how the story would end.

In short I had everything I needed: characters, setting, plot. And yet one scene was holding me up. I knew what needed to happen in the scene. I knew who was involved. I knew where in the narrative the scene belonged. I knew what brought the characters together at that point. I knew where they had to go after that scene… I just couldn’t write it. I tried. Several times. It always sounded naff. Not terrible. Kinda ‘passable’ but just… not good enough.

It was frustrating.

So today I took a different path. No more chiseling at the edges, no more gentle molding, no more sanding back or polishing, no more pulling at threads hoping the knot would unravel. I took the sword to it. I cut it right back, made the dialogue do a lot more of the heavy lifting, took out some unnecessary details and…

And I think it’s worked. Maybe I wake up in the morning and post a retraction. Maybe it was horrible and needs to be re-written, but for the first time I am confident that at least structurally it’s right. The drafting and revising process isn’t finished, but it’s close, and the story actually looks like a story now. There’s not a great big chunk missing out of the middle like there had been.

It’s called “To the Iron Hills”, and it’ll be between 7,500 and 8,000 words complete. I’ll post a couple of thousand words as an excerpt here soon, but I’m keeping most of this one up my sleeve for now and I’ll definitely be submitting it to some publication markets when it’s ready. I reckon this one’s a good one.


“The City & The City” Review

“The City & The City” Review

My first contribution to “Disinformed”


“Disinformed”

I’ve recently accepted an invitation to become a contributing reviewer at “Disinformed”.

It’s a collaborative blog, and whilst I haven’t posted any reviews yet I plan to do so very soon., so if you’d like to read my opinions on the writing (or film-making) of professionals, or if you’d like to read some reviews from my fellow contributors others then come on over for a look.


Chapter 3

It’s finished… well. The draft at least.

Today was  apublic holiday in Australia, and thus a rather fruitful day for me as a writer (thanks in no small part to the generosity and support of my lovely wife, who provided me with some kid-free time).

I’m at about 2,500 words for the chapter, which is a little short really. I’d like to see about 3,000 per chapter, and some mathematical OCD in me wants the chapters to be about even in length. I’ll get over that if I concentrate. Chapters should be as long as they need to be. Word counts be damned.

That said the word count for the project is at a quite pleasing 14,000 words at the end of Chapter 3 so I think I’m on track for novel length.

Below I’ve posted an excerpt from the end of Chapter 3. It’s the first real conversation between Brian and Aisha. It takes place the morning after his first shift in her kitchen. She’s invited him in for a cup of tea, for reasons he doesn’t really understand, and he’s agreed, also for reasons he doesn’t understand. We join them here just as Aisha sends her sons off to school and our main characters are left, for the first time, alone:

 

Mr Ward’s a bloke from downstairs. He’s old enough to be retired. He introduces himself to me as Arthur, but I can call him Art. He reckons everyone does. The Muslim woman calls him ‘Mr. Ward’ though.

He picks the boys up for school and just after eight there’s a little group of kids of Primary school age gathered in the driveway under Mr. Ward’s watchful eye. As well as the two boys there’s a little white girl with straggly blonde hair, probably about eight, and two Asian Muslim girls in little head-scarfs from Indonesia or something. I’d been to Bali on a footy trip once and I knew there was plenty of Muslims in Indonesia. The five of them set off with Art to school, walking in a nice neat line like they’re ducklings and he marches in front like a mother duck.

We watch them go from the balcony and then I follow her back inside, to a couple of seats in her kitchen. The door stays open again. I don’t question it.

The tea is too milky and flavoured with honey instead of sugar, but I figure I better finish it. My tummy’s empty but the kitchen smells like spicy food and I’m no good with that so I keep my mouth shut and sip my tea. She sips hers and we’re both silent. She looks out the window until we see the little procession of kids making their way along the street to school.

‘I’m Aisha,’ she says as she reaches into some high cupboard for a cigarette packet.

‘I’m Brian.’

‘Yeah, I know. You said that last night.’

She watches through her kitchen window as her neighbour walks the children from the flats to school. She offers me a smoke but I’m supposed to be quit so I wave it away. She lights hers off an electric stovetop, smokes it nervously.

‘Weird isn’t it that you’ve got a Kaden and I’ve got a Jaydin. I figured your kids’d both have Muslim names or Arab names or something,’ I say it smiling but the words sound wrong now they’re out of my head and in the air around me. ‘No offence.’

‘None taken. Kaden’s name is Islamic. It means “companion”. I named him because he came to me at a very difficult time in my life, and he is my companion, and his brother’s companion in difficult times.’ Her eyes were still out the window, but unfocussed, looking at nothing. ‘What does your son’s name mean?’

‘Dunno really,’ I shrugged. ‘Don’t suppose I thought much about it like that. My wife, my ex-wife, she just liked the sound of it and it seemed a good enough name to me. I wasn’t too fussed. Most of the names in my family are pretty normal and we figured we’d give Jaydin something a bit different. We spell it with a “Y” in the middle, “I – N” at the end. The girls’ names had a “Y” in the middle and ended in “I – N” too: “Maysin” and “Maddysin”. It was going to be a pattern, but… anyway. Just didn’t work out like that I s’pose.’ I shut up. Didn’t really know why I’d said so much, probably because I’m tired. The silence is too much for me then and I need to change the subject. ‘Old Art seems nice.’

‘He walks them to school Tuesdays’ she says absently. Her eyes haven’t come to me yet. Always they’re out the window. ‘There’s an old Turkish man in another of the flats and the two of them take turns.’ Her accent is beautiful, like she was the BBC’s Middle East correspondent. ‘The door has to stay open or people will talk,’  she says in a sudden hurry. ‘Door and blinds. I don’t want anyone saying I had you in here privately.’

‘Yeah, no worries.’

‘Not for you maybe. There’s a family in the flats next door: Muslim, like me, but not really like me… stricter, you know? It would be a worry for them.’

‘Not really their business is it who’s in your apartment?’ Her eyebrows arch in response and she looks at me properly now.

‘Never had nosy neighbours?’ she asks. I shrug gently and go back to my tea. ‘I suppose it’s not their business really, but they would make it their business. They’re very interested in me. They are concerned that my life isn’t…’ she seems to struggle for a word. Compromises. ‘Not Muslim enough I suppose.’ I set the tea down. I don’t know why she bloody invited me in the first place.

‘I’ll go.’

‘No. Please. Finish you tea.’ She smiles and it’s kinda beautiful in its own way. She puts me in mind of the princess in that Disney ‘Aladdin’ movie. I take a big scalding gulp of tea, nearly finish the lot, and lean back. A thought occurs to me.

‘Is that why you invited me up here? You want some sort of protection from me? B’cause I’m hired to guard the vacants that were vandalised. I’m happy to check in on you but…’ I trail off. She smiling again but this one’s almost mocking. ‘I say something funny?’

‘No. Not funny. Thank you, you’re a kind man to think that way, but you can guard your vacants. I have protections of my own.’ There’s something there in her words or her voice like she’s being mysterious but I’m too bloody tired to care too much about what secrets she wants to keep. My tea’s gone in another hot gulp.

‘Suit yourself then.’ I stand from the table. She watches me like I’m under inspection. Bright brown eyes with sharp focus. ‘Thanks for the cuppa.’

‘You’re most welcome. I will see you tonight. Insha’Allāh.’ I figure that’s like her version of goodbye.

‘Yeah,’ I say as I head for the door. ‘In shar a la.’ She smiles her friendly smile then and I watch the door close on it.

*

On the drive home I nearly fall asleep at a red light and the cars behind me lean on their horn until I take off. I wonder what colour Aisha’s hair is, and at home, after I’ve stripped to boxers and pulled the thick drapes over the windows and checked the 5pm alarm and gotten in deep under my doona, I fall asleep remembering her smile.


Leaving the Farm (2012)

They’re walking between the rolling hills, the folds of the land. It’s just like it used to be, only she’s so much taller and now it’s her who needs to slow to match his pace.

Around them are close-cropped paddocks, rabbit burrows, low walls of piled stone by the roadways; taut tension-wire fences cutting across the land.

In the corner of the bottom paddock stands an ancient oak. Below that an old bath-tub, used as a water trough, and some lazy cattle gathered around in the shade. The old fence-line is marked now by a row of conifers, and the occasional rotted fence-post standing useless and alone.

Farther out, by the creek, the native gums hold sway. From one lower branch a frayed rope dangles over a stagnant billabong. Almost, on the wind or in the memory, there are the sounds of children laughing and chiacking and splashing. Echoes from a summer long since passed.

Twilight is coming on. A crack from a .22 sounds from over the hill on some farm beyond.

*****************************************************************************

This is a Contemporary Rural Short Story about what is lost to progress.


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