Pirates of Time – The Sailmaker’s Palm

Sailmakers Palm

Excerpted from my Pirates of Time manuscript. Erin and Sophie have traveled 300 years back in time. Disguised as boys, they have joined the crew of Swiftfoot Darkrunner’s pseudo-pirate ship Velocity. Their second day aboard,

they are assigned to the awful task of re-caulking the deck.

The hours crawled by. Caulking was hard work indeed. Despite Mr. Rumple’s declaration that Erin had “mastered” caulk removal, both she and Sophie struggled mightily with almost every piece of the rough, tar-soaked oakum they tore out and replaced. And miles of it still lay in rows between the boards before them. One of the most difficult part of the task was that much of the work had to be done on their knees protected by no more than the denim of the cut-off jeans.
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Backstories of Backstories

Every story has a backstory. Every time machine story has two.

The backstory of the Pirates of Time, my current effort, is the love between pseudo-pirate Captain Swiftfoot Darkrunner and Blue Leaf, princess of the Nighthawk People.  This love is vital to my main character Erin Isabelle Spotsworth three-hundred years later.  Though only obliquely related to my tale, Pirates of Time could not have been written were it not for a number of fiction and non-fiction books I read as a child. This post is an attempt to honor these stories in enriching my story and indeed, my life.

Pocahontas and John Smith

The history of Pocahontas and Captain John Smith

Wendy

Peter Pan and other related works of J.M. Barrie

TinWoodmanofOz

The novels of L. Frank Baum

ForgetfulProfessor

The rich literary history of forgetful professors such as Per Lindroth’s book.

The Blow

The Blow

An excerpt from Chapter 23 of the new novel. The girls (disguised as boys) are sailing on Captain Swiftfoot Darkrunner’s frigate Velocity. Erin is known to captain and crew as Aaron Spotsworth; Sophie, as Michael Claude. The day after they’ve been promoted to midshipmen, the ship enters a terrible storm. Mr. MacLeish is the boatswain.

“Well done, Mr. McLeish,” Darkrunner told him.

“Oh, thank you, sir.”

“Is there anything you need?” Captain Darkrunner asked.

“Only a dozen more sailors, Sir,” MacLeish said. “But we’ll do with the ones we have. I don’t wish to give them airs, but they’re the best I’ve ‘ad the honor to sail with.”

“Good man, Mr. MacLeish,” said the captain. “But if you have a deck hand to spare, I think we need two more hands at the wheel. I fear Mr. Short won’t be able to hold her steady alone through his watch.”

“Aye, Sir.” Mr. MacLeish said before descending the companionway.

Erin shielded her eyes from the rain as she watched two men trim the foresail above. “It’s amazing they can hang on in this weather.”

“Sadly, not all do,” he said staring off at the ragged gray clouds advancing from the north. “A boy not much older than you was struck by a loose boom a fortnight ago and plunged to his death right where you’re standing.”

Erin quickly shifted from the spot and searched the boards for signs of blood.

“It was  appalling to see the lad splayed out like a broken doll.” The captain hesitated a moment before he was able to continue. “He was French — a prisoner shipmate of Mr. Petit’s until they joined the mutiny. Poor Petit scrubbed the deck furiously for an hour, sobbing like a child.”

Erin felt frozen where she stood.  She felt uneasy staring down, but didn’t want to look  up into the captain’s face.

“I’m sorry, Mr. Spotsworth,” the captain said swiping his hand across his eyes. “I didn’t mean to burden you with my woes.”

“Oh, no, sir,” Erin said lifting her eyes. “It’s quite alright. I know how awful it is to lose a friend.”

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The voice of Charles F. Emery

Charles Emery

As I’ve mentioned in other posts, I’m working on a middle grade series. I’ve recently paused writing the second story to edit the first.

At a conference last fall I had the opportunity to read the first six pages of the first novel aloud to a group of twenty-five writers and the accomplished author/editor Arthur A. Levine.  In preparation I spent a day tweaking the brief introduction to the book. Arthur’s advice was to carry the voice of the narrator in that introduction throughout the novel, and I might have something worthwhile.

After the conference, I reread my manuscript and discovered serious inconsistencies in the narration. One voice was enthusiastic and immature.; another, brusque and flashy.  A third seemed unfocused. The only voice worth hearing was indeed the the plain, confident one in the introduction. Who was that? I searched my memory for the face of someone I knew who spoke like that. One wrong face after another appeared in my imagination before I recalled that of Charles Emery (pictured).

The late Mr. Emery was my high school coach and English teacher at the Fountain Valley School of Colorado.  He was an extremely reserved but approachable man in his forties. His teaching manner can best be described as deliberate. He gave good lectures supporting his positions with historical facts and passages from the text. Students could always tell when Mr. Emery was about to read. He would lean back in his chair, lower his half-moon glasses, and tip his head up slightly.   He read us Chaucer, Shakespeare and Donne in his naturally low timbre. There was a resonant, Gregorian hum to his voice that caught the ear. He spoke almost without inflection. The poignancy and emotion of the stories were carried rather in the occasional pause or drop in volume.  He read to a room filled with sixteen-year-old boys, none of whom ever spoke over him. I recall closing my own eyes or staring out through the window, not to avoid his performance, but to focus on it more intently.

Mr. Emery – Chuck, as he insisted I call him in our few correspondences years later – was a decorate war hero (UDT in WWII). He was a champion handball player and had been a scholar at Columbia University. He never spoke of any of this to us. We learned about it in murmurs from the seniors. I never saw him brag, or swagger, or speak sharply to anyone.

I’ll never have Charles Emery’s voice, but always carry it with me, perhaps feebly into my own little stories.

Here’s a bit more about Mr. Emery from the school. As you will see, I’m hardly alone in my praise of him.

http://www.fvs.edu/podium/default.aspx?t=204&tn=FVS+bids+goodbye+to+Senior+Master+Emeritus+Charles+F.+Emery+’38&nid=367998&ptid=39771&sdb=False&pf=pgr&mode=0&vcm=True

you can not control what you do not measure

Measure your progress

 

 

 

 

 

“You can not control what you do not measure.” It’s a phrase in business with murky origins. Someone is said to have coined it, but it seems that he was misquoted or a poorly paraphrased. Whatever the phrase’s beginnings, its meaning is profound.

There is a time to be unaware of one’s position: a dream, a moment of creation, a walk with the one you love. But I have discovered that if I do not gauge my progress, I am likely to make little of it. I count my pages now. I focus on milestones and personal deadlines. It’s made a huge difference in my writing. Everything counts, not with the same level of importance, but it matters nonetheless.

From Chapter Twelve of the new novel

As the girls entered the building, Erin was struck by the enormity of the lobby and everything in it.

The room was the size of Central Train Station. Forty-feet above the floor, the ceiling was a backlit blue-glass dome supported by thick brass arches. On each of the side walls hung a huge steel clock with giant brass gears that turned at various speeds. High on the wall ahead was mounted an enormous glass map of the world with brass continents. Blue neon tubes radiated from Xdom across the amber oceans to the great ports of the world. Beneath the map, was a steel-clad reception desk.  Behind it, a line of tall, powerfully built guards paced menacingly in their black suits. Their keen eyes shifted quickly amongst the visitors milling about the room and scattered among the chairs of the waiting area.

The room gave Erin a chill, which she believed was intentional. The high ceiling and the big men would naturally make the visitors feel small. Standing between the huge clocks gave the impression that the company’s time was more important than the minutes tracked by the visitors’ little watches. And the massive world map with its glowing tendrils spreading across the vast globe made the company seem like a planetary spider.

Erin drifted toward a placard marked “History of X Energy.” Perhaps it could tell them what had happened to their beautiful city. But before she reached it, she was stopped by Monique’s exclamation.

“Oh, my Gosh, it’s THEM!”

Erin turned back toward the reception counter where the guards stared back at the girls like hawks on a wire eyeing a couple of mice.

She turned her attention to two extraordinary men moving toward Monique and Erin.

Monique was right. It was THEM.

Current Word Count: 27,077

most of the great art in the world is about …

Almost Famous

 

 

 

 

 

 

 

 

 

Art is what you make when you’re not feeling cool.  Not that feeling uncool is the basis for art, but that coolness – prevents the creation of real art. The reason is simple: You can’t be thinking about your image.  Doing so creates a distance – a duality if you will, between you and the deeper thing you’re trying to express. There can be no such boundary. This is why art is so rare. I’ve only felt it a couple of times and even then, I’m not so sure.

Here’s the best expression I ever heard of this truth. It’s from Cameron Crowe’s film Almost Famous, a story about the coming of age of a critic.

Lester Bangs: Aw, man. You made friends with them. See, friendship is the booze they feed you. They want you to get drunk on feeling like you belong.
William Miller: Well, it was fun.
Lester Bangs: They make you feel cool. And hey. I met you. You are not cool.
William Miller: I know. Even when I thought I was, I knew I wasn’t.
Lester Bangs: That’s because we’re uncool. And while women will always be a problem for us, most of the great art in the world is about that very same problem. Good-looking people don’t have any spine. Their art never lasts. They get the girls, but we’re smarter.
William Miller: I can really see that now.
Lester Bangs: Yeah, great art is about conflict and pain and guilt and longing and love disguised as sex, and sex disguised as love… and let’s face it, you got a big head start.
William Miller: I’m glad you were home.
Lester Bangs: I’m always home. I’m uncool.
William Miller: Me too!
Lester Bangs: The only true currency in this bankrupt world is what we share with someone else when we’re uncool.
William Miller: I feel better.
Lester Bangs: My advice to you. I know you think those guys are your friends. You wanna be a true friend to them? Be honest, and unmerciful.

Hornblower and the Hotspur

Hornbower and the Hotspur

For background for my sea story I’m reading Hornblower and the Hotspur by C. S. Forester.  The Hornblower series is set in the Napoleonic Wars, some eighty years after the period of my story. The characters are decidedly not pirates.  They’re the Royal Navy side of my tale.  For the pirate side I will read other books.

I read the Forester books to glean the nautical terms, the commands, the ship handling and the battle scenes which would have been very similar to the 1720’s when mine is set.

Apropos to children and sea stories, this series was among my father’s favorites.  He started reading them in 1937 at age 34, when the first two were published.  The last was written in the late ’60s.  Lord Horatio Nelson, hero of Trafalgar, was a boyhood hero of my dad’s.  Clearly he was influenced as a child by sea stories. His youth was at the time when Teddy Roosevelt and the emergence of American sea power were in vogue. You can see his stalwart nature and his passion for the navy in this precious portrait of Judge Wilmer Brady Hunt, my dad, when he was, as he would say, still in short pants.

Judge as a Tike

A few lines from my current project.

Pettiprig's Stern

Admiral Squeamish Pettiprig raised an eyebrow. “My three ships can certainly sink Darkrunner’s one,” he said.

“But what if he’s with Nell Flanders?” Roderick asked wagging a finger at the admiral.

Pettiprig shrunk back for a moment before steeling himself once again. “I have good intelligence,” he replied. “That she’s careened her ship on the beach at Flamingo Petite.”

Minutes later Pettiprig’s flotilla sailed off in a rush to Port Left with Foppy Sniggers, who no one noticed lay unconscious on the floor of the wine locker.

A change in direction

Coast

 

 

 

 

 

 

 

I’ve decided to take a change in direction in chosing my next piece.  Having completed the first novel in the Inventors’ Daughter Series and written an extensive chapter-by-chapter outline of  the second, I feel confident that I can take a haitus and return to the series when I am ready.  This feels natural to me, as I try to rotate my crops between whimsical and serious works.

In the meantime, I’m going to write a 5000-10,000 word story about myself and my friends when we were seventeen and eighteen.  It’s a sad story I’ve wanted to tell for many years now and feel I am now able to tell it truthfully.