Tag Archives: “Perceval’s Secret”

Writing Sound

Human beings possess five natural senses. Writers work hard to use words to stimulate those senses. It’s easy for certain senses like sight and taste, much harder for touch, hearing and smell. We have words that mimic sound, for example, like “eeeek!” or thud or squelch. And we use simile to describe something, e.g. sounds like, tastes like, smells like, feels to the touch like, etc. I’ve read three Daniel Jacobus mysteries (by Gerald Elias) this past summer and as a result I’ve been thinking about writing sound.

It’s possible to simply note the title of the music I’m referring to, such as the Mahler Fifth Symphony, the fabulous trumpet solo that begins it like an elegiac call to witness what comes after which often feels to me like Mahler tearing down a structure to create something new. If a reader is familiar with the music, the title may be all that’s needed to conjure memory of the music. But what if the music referred to is fictional, as is some of the music in Perceval’s Secret?

When I was writing and revising the first chapter of Perceval’s Secret in which Evan Quinn conducts Caine’s Fifth Symphony, I worked hard to avoid my prose turning purple on me in pursuit of capturing the sound in words. That’s really the huge challenge whether writing about a fictional piece of music or something that’s real. I admire greatly the music critic who can describe music’s sound and color in words that will evoke in anyone’s mind precisely the sound and color. I decided, with Evan, to focus more on what the music evoked for him rather than strictly the sound. But then I also realized that Evan, as a musician, would be sensitive to sound in all areas of his life, so he thinks of human voices in terms of the sounds of musical instruments, e.g. a man’s reedy voice reminds him of an oboe.

It may all boil down to the purpose of writing the sound, describing it in words.  In the first chapter of Perceval’s Secret, the purpose is not only to show Evan at work and how much he loves what he does, but also his emotional connection to the music and what it evokes for him. Music performance is an emotional experience every time it’s done.  Music evokes feelings, and through those feelings, it can spark the imagination, or memory, or other feelings. As I’m writing this, I’m listening to the complete soundtrack to the movie Star Trek (2009), which is sparking memories of scenes in the movie as well as how I feel when I’m watching those scenes. Words do not have the same power as sound, but words become sound when spoken aloud, or when accompanied by music, or when sung. And in the time of Homer, stories were told, spoken aloud, not read. I’ve always wondered if Homer accompanied his telling of The Iliad with sounds, i.e. changing his voice for each character or adding sound effects for the battle scenes. For example, how did he begin:

Sing, goddess, the anger of Peleus’ son Achilleus and its devastation, which put pains thousandfold upon the Achaians…..

Did he sing with the words “Sing, goddess”? What is the word “sing” meant to evoke here? We have songs that tell stories, and I suspect humans have been singing stories for thousands of years.

In Perceval’s Secret, my task was to describe the sound of the music I use in the story in words. Some of that music was fictional, some real. I had thought while writing how wonderful it would be to provide a direct link to the music that I was writing about so that the reader could hear it in the background while reading. It is the only time that I’ve thought that creating an interactive experience might be helpful. But I decided against doing that in any way in favor of leaving it to the reader to seek out the music to listen to on his or her own. And I’ve thought a lot about writing sound, and will continue to think about it through the subsequent novels in the series. Writing the sound of music is a lot harder than writing the sound of a kid jumping into a pool. Splash!

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Character: Power

 

The July/August issue of The Atlantic offers a fascinating article by Jerry Useem about how having power actually changes the human brain. The mental abilities that enable someone to rise in society into a powerful position end up disappearing once the person has gained power. The example Useem begins his article with is of former CEO of Wells Fargo John Stumpf’s performance at a congressional hearing last fall — his utter failure to “read the room.” Useem goes on to cite study after study that show how having power damages the parts of the brain that enable humans to relate to other humans and to have empathy.

 

The lust for power has motivated many a character in fiction. Power fascinates me as well as how we define power. While researching Post Traumatic Stress for Perceval’s Secret, I stumbled onto the Pandora’s box of Power, i.e. external power, or having power and/or control over other people. I learned that the people most likely to seek external power feel powerless but are not self-aware enough to recognize how they are really feeling. All they know is that having power makes them feel better. There is another kind of power: internal power. This is the individual’s self power, i.e. he feels powerful in being himself rather than feeling powerless.  This person will not seek external power over others. He simply doesn’t need it.

So, which individual is the character you’ve created? How does she perceive the world? In a way that signals her sense of powerlessness such as constantly ingratiating herself to another character? How does he respond to people? Is he manipulative? Narcissistic? Focused only on what will benefit him? Or is your character empathetic, genuinely caring of others, and not in need of control or motivated by fear? Having a bloated sense of self-worth, a common symptom of narcissism, can also mask a person’s sense of powerlessness. A character with power issues, especially one who isn’t self-aware, can end up being a villain or a victim, or ironically, both.

When you have a character that feels powerless, it’s important to figure out why that character feels powerless. Whether or not you put that part of his backstory into your story, you, the writer, need to know the reason. His powerlessness will come through in his behavior toward himself as well as other people, through his desires, professional goals, and even in how he dresses and takes care of himself. For example, he may choose a profession in which he exerts power and control over others in some way — corporate CEO, a surgeon, a government bureaucrat, or even a symphony orchestra conductor. My favorite is the co-worker who believes that she’s entitled to be the head of the company and will do anything to get there. Criminals also tend to possess a sense of powerlessness and their criminality gives them a sense of power whether it’s beating the system or taking a life.

Deep-seated fear often goes with a sense of powerlessness, and the desire for power is also a desire to be safe and secure. When the powerless gain the external power that they seek, they are most often likely to abuse that power, also. How all this manifests in human behavior can be unique to the individual and her background, and the same is true for a fictional character.  You don’t have to be a psychologist yourself in order to write a fully dimensional character who behaves in plausible ways. Be open to the possibilities.  Let your character act, speak, and think as he does and be the observer. Respect the character.  Allow the character to be himself. He’ll most likely give you his story if you’re open to all the possibilities.

Power definitely motivates characters in ways unique to each of them. Whether or not your character obtains the power he seeks could be the story your character wants to tell you.  Are you listening?

 

The Cost of Being Independent

The May 2017 issue of The Writer is chock full of helpful and interesting articles! Since I’m working to pay off debt incurred from e-publishing Perceval’s Secret, I was particularly interested in the article, “Going Rogue: Is Self-publishing right for you?” In this article, Kerrie Flanagan compares the traditional publishing model and the self-publishing/independent model, covering all aspects of production, publication, marketing/promotion, and distribution. I recommend this article highly, highly, highly — especially for anyone who believes it doesn’t cost much at all to self-publish.

It depends, of course, on what you want. If you just want to publish an e-book, your costs may not be that high compared to a paperback or hardcover.  I took the advice and suggestions of others, some were writers I knew who’d been successful with self-publishing, and made certain that I found a good-to-excellent editor and a collaborative cover designer for my e-book. Editors can be expensive, anywhere from $1,000 to $10,000 depending on what you want and who it is. Shop around, but also shop local if you can. I’m fortunate to live in a literary urban area full of colleges and writing resources. The cover design for me was actually the least expensive cost. I went with a designer who’d done a friend’s book covers. There are writers who are talented in design also, and they can design their own covers, saving money there.

My next expense was to turn my Word document into ePub and Mobi files for Kindle and other e-readers.  For me, this was a painful learning experience. Fortunately, I found an excellent and very patient formatting company, BookNook.biz. Because I had not cleared my Word document of all icky formatting glitches, and Word is notorious for them, there were all sorts of issues with the electronic formatting that cost me more to fix than it would have if I’d cleared the Word document at the beginning. I didn’t know. I paid for my ignorance.  It won’t happen again.  Some writers know a lot about formatting or aren’t scared off by the conversion process. They will save some bucks by doing the conversion themselves.

Flanagan doesn’t go into the cost of ISBN numbers, registering your novel with the US Copyright Office, and marketing/promotion costs.  The last can cost you significantly more than producing the book, depending on what you want, of course.  I worked in advertising at one point in my life and know a bit about marketing.  The most important thing about marketing that you need to know is that unless you are famous or have an irresistible platform, it’s going to be very difficult making yourself heard in the cacophony of promotion at any given moment. In the US, at least 50,000 books are published every year. You’ll be competing with all of them for readers’ attention and hard-earned money. Adjust your expectations for sales accordingly.

With traditional publishing, the writer has no up front costs as with self or independent publishing. The writer also doesn’t have the control that she has as an independent publisher. Traditional publishers take over all the production, with some limited input from the writer about covers, titles, and then proofing galleys. They will also provide very limited marketing and promotion, but are honest with writers that they depend on them for the bulk of this work. It can take up to 2 years for a traditional publisher to publish your book.  If you do it yourself, it can be done in 3-6 months. Perceval’s Secret took 8 months because I slowed the editing and revision process at the beginning.

Photo: aliyasking.com

There is one important thing that traditional publishers (and literary agents) do that writers cannot really do on their own. That is: tell a writer if a book is in publishable shape or not. Even before I contracted to work with my last editor, I’d already been through several edits including a really close line edit. I knew that there would be no major changes or issues for that last edit. There was polishing, however, and that is an important process also. In the last few years, I’ve been asked to read self-published books on occasion. I love helping out a fellow writer, especially if a book is truly worth the attention my review might be able to get for it.  But in all cases, the books were in such terrible shape with grammar, language, sentence and paragraph construction, narrative structure, and in one case, checking facts,  I was shocked. How could a writer allow their work to be published like that? So I’d caution anyone thinking of going the self-publishing route to be absolutely certain that their writing is the best it can be, and do not depend on self-publishing services to provide competent editing for you.  Find your own professional editor.

As I mentioned at the top, I’m still paying off the debt I incurred for publishing Perceval’s Secret in digital form.  I’m coming up on the end of the promotional period on July 1 for the 0% interest rate from the credit card I transferred the debt to (it was originally on another credit card with high interest). I set up a GoFundMe project to raise the funds to pay off this debt, so if you’d like to help out, every $10 or $20 will be a big help. It’d be great if I could raise another $600 in the next couple weeks.  The GoFundMe page is here.  Thank you!  Or please buy Perceval’s Secret at Amazon or B&N, and leave a review there after you’ve read it.

Taking Perceval to the Next Step GoFundMe Page

Update: Taking Perceval to the Next Level

After 27 days, my Taking Perceval to the Next Level fundraising campaign at GoFundMe has raised $530. I need another $8370 to meet my goal.

My deadline for paying off the debt is May 30. The $0 interest promotion ends shortly thereafter and I’ll be back to paying off interest as well as the principal.

I’d love nothing better than to put this baby to bed sooner rather than later. Not long after I launched this campaign, I received an e-mail that still haunts me, calling this campaign “online begging.” Perhaps it is. Or perhaps it’s an opportunity to be generous, to do something nice for someone who is in need, or to invest in a writer who’d really like to get Perceval’s Secret published as a paperback.  That won’t happen until I’ve paid off my debt.

Taking Perceval to the Next Step GoFundMe Page

Click HERE to donate!

At this blog, I have an Appreciation page where I’ll list everyone who has helped with donations. I’ve run a promotion with giveaways at Facebook, and I plan to run another one soon. I’ll let you know when the next Facebook promotion goes live.

In the meantime, please consider a small donation to this campaign. Every little bit helps!

Thank you!

C. C. Yager

Adam Burns, or Characters that are cut

Not Adam, but close to how I imagined him

Not Adam, but close to how I imagined him

Adam Burns has been on my mind a lot lately. He was an old guy, a bum, a journalist in hiding in a very early draft of Perceval’s Secret.  Evan Quinn met him once, in a wooded area not far from the Minneapolis neighborhood where the Quinns lived. Evan was ten years old. He knew Adam as “Old Man Burns,” the neighborhood drunken bum. The encounter Evan has with Adam brings into laser sharp focus for Evan the danger that his family is in. Adam isn’t really drunk when he meets Evan — he’s acting drunk and stupid — and he tells Evan that his father must leave the country. Later, Evan learns that Adam was murdered, his body found along the Mississippi River, a bullet in his brain.

I killed off Adam Burns and that entire encounter with Evan. In fact, just before Evan meets Adam, Evan and his friend Paul Caine have been hounded and abused by Harold Smith and his gang. I didn’t realize it at the time I cut out that entire section of the draft, but Harold Smith would become Evan’s nemesis in the Perceval series. He survives in flashbacks in Perceval’s Secret as well as in the flesh late in the novel. But I never put the childhood section back into the novel. And Adam Burns was lost, except in my mind. Now he haunts me.

Have you ever been haunted by characters that you’ve cut out of stories or novels? It’s strange. It’s like they want their own stories, they do not want to be forgotten. I have yet to figure out why Adam keeps popping up in my mind. What’s his deal?

When I began work on the Perceval series, it wasn’t a series. It wasn’t even a novel. It was a short story about a ten-year-old boy who wanted to be an orchestra conductor when he grew up, but the circumstances of his life in America in 2048 would make that dream impossible to fulfill unless he left the country, according to Adam “Old Man” Burns. Evan senses that Burns has a secret, and indeed he did. I knew his backstory although I never wrote it. It was enough that it was secret and something dangerous that Burns must protect or he could lose his life.

Adam’s backstory: first of all, Adam Burns wasn’t his real name. He made certain no one knew his real name, including me. He’d been a famous journalist on the East Coast during the Change, the period of time during which the New Economic Party (NEP) consolidated power in America with a permanent majority on the federal and state levels of government.

Like any journalist worth his salt defending Freedom of the Press as well as the Bill of Rights, Adam had reported on those in power, exposing their corruption, greed, and lust for power. He’d reported on their narcissism, comparing them to the greatest dictators of the 20th Century. He knew the NEP cared only about enriching itself and insuring that they got everything they wanted. Adam had reported also on the Resistance, the Underground, and the Civil War. But the NEP wanted the American people to know only what they told them. So they waged war against journalists, arresting many who simply disappeared. The NEP wanted complete control over the media. They silenced the media by any means necessary.

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The people had rebelled — the country was embroiled in a Civil War, with western states seceding, southern states threatening to do so, and Washington slamming shut all of America’s borders. By the time Evan is ten, Adam has been underground for over five years, running for his life. In Minnesota, he thought he’d be safer because Minnesota was a hot bed of resistance, led by Evan’s father, a poet, and Paul’s father, a composer. Artists throughout the country had joined the Underground, the loosely organized resistance movement. They could offer Adam a way out of the country.

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I cut Evan’s childhood section when I realized that I was writing a novel and I needed to restructure it to focus on his adult life, what eventually became Perceval’s Secret. Now I find it a bit ironic that Evan carries a dangerous secret in the novel, one that could cost him his life. So perhaps Adam did survive in the importance of keeping dangerous secrets.