The Trunk in the Attic

The Trunk in the Attic

I struggle with the complexity of the stories and the accessibility of language in my two novels. Will a young reader stumble on a word more common in the books of my own childhood than in hers? Will she finish a book with so many characters and twists?

The point I’ve come to is that while I certainly do not wish to confuse, bore or frustrate readers, I do hope to pass on some of the richness of detail I was fortunate enough to be exposed to not only in my early readings, but in my own childhood. My father, a character himself, devoured sea stories, and could quote Shakespeare and Walter Scott at the drop of the hat. My mother, a painter and poet, quoted the Romantic poets almost daily. My big sister Lalu is a marvelous storyteller herself and read me Thurber with a wicked giggle. My late sister Robin McCorquodale published several acclaimed books and sang mezzo soprano in New York. My brother Grainger Hunt sang rock-and-roll and played Henry IV on stage. My own literary influences were Shakespeare, Homer, Twain, Verne, Stevenson, Doyle, Wells, Hammett, Hellman, O’Brian, Chandler and McMurtry. I read them still.

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Editors

Maurice de Vlaminck Painting

I’m at the Willamette Writers Conference in Portland, OR this weekend pitching my new book. I must say the more editors I know, the more I like them. Publishers, bless them all, love numbers. Editors love words. They are the gardeners of books.

*Painting by Maurice de Vlaminck.

Odysseus and Calypso

Odysseus and Calypso
Odysseus and Calypso.
Red-figure vase. Clay.
Paris, Louvre Museum.

I’ve been writing a lengthy middle-grade sci-fi novel for almost two years now that I think of as an odyssey. It’s the tale of a modern girl whose city has been horribly changed be someone stealing her parents’ time machine. When the machine returns to her, she and her best friend must use it to go back three-hundred years and undo the damage.
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As I Liked It

Seattle Shakespeare

I’ve been a season ticket holder to the Seattle Shakespeare Company’s season for many years now. Last night I saw their “As You Like It” below the Space Needle at the Center House Theater.

I’ve got to say Orlando (Nathan Graham Smith) had a bit of a rocky opening. There are moments in even a good actor’s career when he can do no more than summon his lines. And though this was one of them, the awkwardness moment passed quickly, and Mr. Smith led the play very well indeed.

The story has a rather serious beginning, as all good comedies should. Ray Gonzales and Keith Dahlgren played very credible dukes with lots of slapping around, which added to the drama in the resolution of the play.

Jake Ynzunza portrayed well the oafish wrestler Charles and the bumpkin rube William.  The characters played by Bill Johns and David Klein were not the most interesting, but the actors played their parts very competently, as they always do. Hanna Lass and Rebecca Olson where fabulous as BFFs Rosalind and Celia. Ms. Lass portrayed the lead with the perfect balance of spite and lovestruck ardor that the character requires, and Ms. Olson animated Celia with the humor and steadfastness Shakespeare breathed into the lines.

Everyone did well, though I have to say I was struck by the skill that David Pichette used in playing Jacques, the worldly philosopher who elevates the tale. His “All the world’s a stage” speech was the best I’ve seen. He gave it in the aisle, not three feet from me. I admit, I had to overcome the urge to leap up and wring his hand when he’d finished.

And Darragh Kennan was Wit himself as the wisest of fools. His patter throughout the play – especially with Hannah Mootz (Phebe) – was wonderful. There seemed to be one or two spots where their words got crossed and Mr. Kennan improvised magnificently.

The music, by the way was very well done. I usually read past those lines in the play, but they were delivered so musically they stood out as some of the best parts of the performance.

Once again thanks to John Bradshaw and George Mount, all of the actors and, of course, the Bard for a wonderful evening and season.

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

Maurice Sendak and his uncle

Maurice Sendak

Let me start by saying I never met Maurice Sendak, the exceptional author and illustrator of children’s books. But  I’d like speak about my reaction to something he once said :

After Sendak passed away last week, NPR replayed a 2006 interview with him (below). In it he talks about how his fury at his aunts and uncles drove his work – in particular his uncle’s comment to Maurice Sendak’s father that nobody would want to kidnap his children.

I’d like to offer a different take on the uncle’s statement that I feel I owe to my empathetic mother, who couldn’t bear even her own anger.

Naturally, a child might feel anger at what seemed to be a hurtful snub. I certainly would have as a boy myself.

But as an adult, I’d like to suggest an alternate explanation. Seeing the anxiety in his brother’s face, might not the uncle’s words have been meant to comfort and reassure his brother? Why indeed should Maurice Sendak’s father be concerned? Was his the family of a celebrity millionaire? Was there a kidnapping of a similar child in his neighborhood.

What I’m suggesting is not that the Sendaks’ reaction was extreme. We all feel personally threatened hearing news of notorious crimes.  But later in life, shouldn’t an adult look deeper? I’m not suggesting any kind of parity with the great author, but shouldn’t a writer see the world with more nuance than does a child?

NPR Narrative … Another book features a baby being kidnapped, just as the Lindbergh baby was famously kidnapped when Sendak was a boy.

MAURICE SENDAK: I had my father sleep in our room. We all shared a room, my brother, sister and I. And he had to sleep – and I still can see him with his underwear top, trousers, a baseball bat lying on the floor. And in case the kidnapper came in, he would kill him. And when my Uncle Joe – who I then used as the ugliest of all the Wild Things, because I loathed him – was – he said to my father: Why would they want your kids, Phillip?

(SOUNDBITE OF LAUGHTER)

SENDAK: How insulting could that be to a child, when he isn’t worthy of being kidnapped?

INSKEEP: Have you now gotten even with the people who made your childhood unhappy?

SENDAK: No, of course not. But, you know, being in a fury and not getting even is a lot of the energy that goes into work.

* http://www.npr.org/2012/05/08/152253537/beloved-childrens-author-maurice-sendak-dies )

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.

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.

Outline complete

Outline Complete
I finished my outline for the new story today.  It took me a couple of weeks, but I’m satisfied that writing it was a good idea.

I have mixed feelings, not about the outline itself, but about knowing so much about the plot.  The less you know about your journey the more exciting it is. But, as any veteran traveller can tell you, there is a danger in not knowing what’s ahead. 

There are two good things about this outline:

Firstly, I won’t end up retreating from blind alleys having forgotten important aspects that must be brought forward.  No stranger to this behavior, I’ve spent many days reworking the messes I’ve gotten myself into.

Secondly, with plot in hand, I can concentrate on the richer characters that a solid story can support.   Hopefully I will be able delve deeper into the circumstance, behavior and dialog of each.    Laborious and difficult as a writing an outline can be, these three-thousand words may save this writer the frustration and indignation of the dreaded page-one rewrite.

Clarity and patience

princessandtheburl I’ve learned a great deal about writing from reading.  You are what you read.  Everyone says it.  Stephen King in his On Writing, for one.   John Lennon became the songwriter he was by listening to stacks and stacks of pop 45’s.

And yet, good writing doesn’t just come from reading, nor education by itself.  Satisfactory writing, for me at least, comes through quite a lot of unsatisfactory writing.  It’s easy to beat yourself up about it.  Indeed, I’ve gone to the school of self-flagellation wearing my sack cloth and ashes.  By in large, that time was wasted.  Vanity and modesty are both illusory.

Good writing comes in the effort of making your imagination clear.  Clarity informs everything.  It tells you what is overstated, ommited and overdramatized.   To be clear is to tell a tale or sing a song without deviation, and isn’t that what we all look for in art?

And patience can’t be underestimated, for it implies two qualities one brings to a piece:  First, the dignity of labor.  To be patient means you will show up on time with a willingness to work for as long as it takes.  Patience further suggests that you will leave your negative nature behind and not infect the words with it.

The photograph, by the way, is of my granddaughter Erin who at three-years-old exhibits a remarkable degree of clarity and patience in so much that she does – especially her storytelling. As an example when she was barely two, she created an imaginary sister named Wall. Her hands and feet are mermaids and such.  Each has a name and a set of traits. She has stories about them all, and talks to them regularly. The remarkable thing is how clearly she remembers each vignette and how consistent are the properties of each character. I know this because when I confuse them, she corrects me with an all but imperciptible show of exasperation.  She is my inspiration.

About famed Dream City writer S. E. Hunt

Here is a quote from The Inventors’ Daughter series website in which I describe my collaboration with famed Dream City writer S. E. Hunt. (S. E. is a very close relation. In fact we could hardly be closer.)

Every night – very, very late – I fly high above the clouded moonlit ocean from Seattle to Dream City, never quite sure whether Professor Spotworth’s buzzing, sputtering Astral Phaeton will stay aloft for the entire frigid, buffeted journey. Once there, I join S. E. in a gloomy, back-alley coffee shop where we scribble, shout and toss notes at one another from opposite ends of a long, battered table.

 http://www.theinventorsdaughter.com/Author.aspx 

Why have a collaborator?  Don’t get me wrong.  I’m used to working alone, and I tried my best to research Dream City and write the book by myself.  I was shown the shark-shaped Aquarium.  I joined the Jupiter Space Museum, a five-story glass ball resembling the striped planet with the hurricane-eye riding on its equator.  I even travailed up to the Tripod observation deck where I could look down seven-hundred feet onto the three Dream Islands below.

But it was no use.  I could tell the stories alright, but the pages were as dry as a Pharaoh’s mummy.  No, I needed a partner who was not only a good writer, but a resident of Dream City and someone who actually knew the brave and clever Erin Isabelle Becker-Spotsworth.  I believe our collaboration, though quite stormy, has yielded far richer tales than I myself could have ever told alone, or he by himself for that matter.

I recommend to all writers that they occassionally take the opportunity to join a fellow scribbler and see if one plus one does not equal … well, who knows what? 

I suppose not knowing is rather the point, wouldn’t you say?  

ten day immersion vacation

It’s good to be me.

I’m currently in the middle of a ten day immersion vacation to plot out my new novel Timearang Pirates.  I get up at 5:30 AM. By 6:15 I’m being served the world’s best double-tall split-shot Americano by Corrine or Precious at a cozy Fremont cafe on the shore of the ship canal a mile north of the Seattle Space Needle. I take my seat at my favorite table and work on my story until about 9:30, have some breakfast and go to the gym.  

After a shower, I read source material before and at lunch.  Next, I’m off to the library for two or three more hours of writing.  A couple of late afternoons, I watched relevant films: Master and Commander and The New World.  Around five o’clock I venture out for my last espresso of the day with my friends before returning home for dinner. 

Quelle vie, non?

My Fremont friends Corinne and Precious