Reading, 'Riting, and Ramblingshttps://blog.tkmarnell.comT. K. Marnell's BlogSat, 23 Sep 2017 05:30:47 +0000Crafting Tragic Tragedieshttps://blog.tkmarnell.com/crafting-tragic-tragedies/Last month I watched The Miles of Peach Blossoms, an epic and very expensive xianxia drama.

While the story of the main couple was interesting, in my mind the Best Couple Award goes to two side characters: Bai Fengjiu and Donghua Dijun*.

* Dijun is an honorific title for an imperial lord.

Promotional photo of Vengo Gao as Donghua Dijun and Dilrama Dilmurat as Bai Fengjiu

Fengjiu is the young princess of the kingdom of Qing Qiu, a mischievous nine-tailed fox merely 30,000 years old. Donghua Dijun is the former emperor of the heavens, one of the ancient deities born from nothingness when the world was chaos. Heartless and unfathomable, Donghua fought for hundreds of thousands of years to bring peace to the Nine Kingdoms under the rule of the Celestial Tribe.

One day, Donghua rescues Fengjiu from a rampaging tiger demon.

Donghua rescues Fengjiu
Donghua rescues Fengjiu 2

Lovestruck, Fengjiu chases him back to the Celestial Kingdom. She does all sorts of crazy things to catch his attention, from sneaking into his palace disguised as a maid to shapeshifting into a baby fox to become his literal pet. Amused, Donghua eventually thaws and learns how to express his emotions.

Screenshot of Fengjiu hugging Donghua and saying, 'I like you.'
Screenshot of Fengjiu nuzzling Donghua and saying, 'I like you so much.'
Screenshot of Donghua pushing Fengjiu away and saying, 'Even if you didn't tell me...'
Screenshot of Donghua telling Fengjiu, '...I would still know that.'

Their relationship is adorable and, in many ways, stronger than the convoluted one between the main couple.

But though the main couple gets a happy ending, Fengjiu and Donghua do not. Their melancholy ending, and the heartbreaking events leading up to it, were responsible for at least one dozen of the sopping wet Kleenex tissues that ended up in my trash can during that show.

In the comments on DramaFever, I read that Ten Miles of Peach Blossoms is based on a series of novels by Tang Qi, and that Fengjiu and Donghua star in one of them! The commenters hinted that the conclusion of story in the drama is very different from the ending of the novel.

I tracked this book down and read it within a couple of days. To my surprise, at the end Donghua and Fengjiu get married and live happily ever after! I've seen many Hollywood adaptations turn tragic endings into pat ones, but never before had I seen a movie or show trade an original happy ending for a sad one.

However, though you'd think I'd squeal with delight to see my favorite couple in blissful matrimony, I didn't feel much of anything. In fact, I preferred the tragic ending in the drama.

Though the ending of the book was technically happy, it didn't make me happy because the story leading up to it was a mess. While the drama versions of Donghua and Fengjiu made me giggle and bawl, the book versions were bodice-ripper stock characters who spent all two volumes misunderstanding and hurting each other. The ending wasn't truly happy because the "tragic" romance leading up to it wasn't tragic at all.

1. For a story to be tragic, the protagonists must lose something precious.

I didn't root for Book Fengjiu and Book Donghua because they weren't very happy together. Fengjiu spent most of her time crying that Donghua hurt her so much and she should give up on him. Donghua spent most of his time lying to Fengjiu and feeling guilty about it. I didn't care much whether they could save their relationship because it really wasn't worth saving.

But the drama successfully showed the happiness these two characters lost when they were forced to separate. Both demonstrate how much they care for each other through their actions. Fengjiu works earnestly to make Donghua comfortable (though she usually makes a comic mess of it), and Donghua breaks his stone-cold character to help Fengjiu when she's in trouble.

When Donghua descends to the mortal realm to experience the trials of human life, Fengjiu follows. Then we get a taste of the sweet and simple life they could have had if they were normal people.

Screenshot of Fengjiu and Donghua as a married couple in the mortal realm

But they're not normal people, they're royalty. Immortal royalty at that. And so they must make heartbreaking choices.

2. The protagonists' choices should cause the tragedy, and these choices should be understandable and preferably unavoidable.

In tearjerker movies, brooding heartthrobs fall in love with delicate beauties, and then one of them dies unexpectedly from a fatal disease or a sudden encounter with the hypnotic Truck of Doom.

Meme of a Korean drama heroine staring at an approaching semi and waiting to get hit

While these movies are sad, I personally don't consider them "tragic." They're just stories in which Bad Things Happen. To be properly tragic, the Bad Things should be caused directly or indirectly by the protagonists' choices. E.g., if the hero must die from a fatal disease, it should be because he chose to delay treatment to live happily instead of simply longer, as in the YA novel The Fault in Our Stars. If the heroine must succumb to the Truck of Doom, it should be because she plowed into it on purpose to save a group of preschoolers, as in the Korean fantasy Goblin.

Of course, the choices must be relateable to work. Characters who make nonsensical or purely selfish choices don't elicit sympathy from the audience. For maximum impact, the choices should also be inevitable. In the most enduring tragedies, the characters couldn't possibly make different choices to dodge cruel fate—either because every choice available to them would also end in tragedy, or because choosing the one path to a happy ending would compromise their morals.

Book Donghua and Book Fengjiu do make choices that cause tragedies, but those choices are neither understandable nor inevitable. For example, near the end Donghua fails to show up for their wedding feast. Fengjiu leaps to the conclusion that he ran off with a princess from the Demon Kingdom, decides their love was a lie, and descends to the mortal realm to hide for 300 years. Unbeknownst to her, Donghua missed the feast because he was saving the universe (again). Fengjiu comes back to the Celestial Kingdom to find him wasting away from a mystical poison, preparing to sacrifice his life for the greater good, etc. Oh, if only she'd known! If only they could have had those few short centuries of happiness together!

I was supposed to cry for them at this point, but instead I rolled my eyes. Book Fengjiu's decision to hide in the mortal realm was idiotic.

  • Donghua had an established track record of suddenly loping off to save the universe, and no track record of showing interest in any woman—any person, even—other than Fengjiu.
  • Fengjiu and Donghua were already officially married and living together, so they should have been long past the stage of petty jealousies and misunderstandings.
  • Fengjiu was pregnant. Why would she choose to raise her infant son in poverty and isolation, instead of staying in Qing Qiu with her doting parents and grandparents?

The only reason Book Fengjiu would make the choice she did is to manufacture last-minute "tragic" circumstances to squeeze out some tears from the readers.

In contrast, Drama Donghua's ultimate decision to break up with Fengjiu is completely understandable. After fighting for tens of thousands of years to bring the Nine Kingdoms to a fragile state of peace, Donghua believes his marriage to Fengjiu would cause political turmoil.

Screenshot of Donghua and Fengjiu during the final battle against the Demon Lord

"I've used my life to protect all lives. If I insist on my relationship with you, it would surely cause ceaseless wars within the four seas....Bai Fengjiu, you're not some common woman. You're the future queen of Qing Qiu! Don't be absurd!"

In the end, Drama Fengjiu must accept his decision and resign herself to a lonely life on the throne.

Screenshot of Fengjiu at her coronation ceremony

"Dijun, from this day forth, I will become the queen of Qing Qiu....I can no longer act willfully anymore. I can't enter Taichen Palace to make you tea and stay with you all night without considering my identity."

Disappointed fans complain the ending is "stupid," but to me it's painfully sensible. Though Donghua Dijun has unparalleled power, he doesn't have unlimited freedom, and it would have been grossly out of character for him to choose his personal feelings over the stability of the heavens.

3. The seeds of tragedy should be sewn at the beginning.

To be honest, the drama version of Fengjiu and Donghua's story had flaws, too. The biggest is that Donghua didn't explain why he couldn't be with Fengjiu until very late in the game. Very, very late in the game. We're talking episode 52 of 58.

Characters who refuse to explain themselves are very common in East Asian dramas, so I'm used to it. I've learned that when characters push their loved ones away, they usually have Noble Reasons that will be revealed eventually. So when Donghua looked at Fengjiu tenderly but treated her coldly, I trusted he too had Noble Reasons and rooted for the couple to the end.

But most Western viewers aren't that patient. Because Donghua spent most of the drama running hot and cold—one minute giving up half of his life force to heal Fengjiu's injuries, the next throwing her out of his palace and claiming he never wants to see her again—many fans of the show hated their romance line. They'd say Fengjiu is "so annoying" for chasing after Donghua when he obviously doesn't want her. Or they'd ask, "When is Donghua going to get over himself and admit he likes her?" I believe these viewers would have had a different reaction if they'd known from the start that Donghua could never marry Fengjiu, but he couldn't stop himself from acting on his feelings and giving her false hope.

The most effective tragedies set up the insurmountable obstacles at the beginning. The first lines of Romeo and Juliet tell the audience about the feud between the Capulets and the Montagues. The first paragraphs of The Fault in Our Stars establish that the seventeen-year-old heroine is dying from cancer. When she meets her first love at a support group, young readers know there can't possibly be a happy ending to the relationship, but they desperately hope for one anyway.

***

Tragedy is the essence of every genre. The efficacy of the central tragedy makes the difference between a shallow romance and a touching one, a boring mystery and a captivating one, or a cliché fantasy and a memorable one. Even in comedy, adding solid tragic elements can transform the work from a farce into a classic (like Annie Hall, Dr. Strangelove, and The Producers).

Speaking of comedy, here's a funny behind-the-scenes clip of Vengo Gau (Donghua) and Dilrama Dilmurat (Fengjiu) filming a "difficult" scene.

[https://www.youtube.com/embed/J7418ebhlhU]
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Sat, 02 Sep 2017 11:58:45 +0000blog.tkmarnell.com
Why I'm Upgrading to Pictureshttps://blog.tkmarnell.com/upgrading-to-pictures/I have a toxic on-again, off-again relationship with books. Every few years I finish writing one and go through the aggravating, exhausting, soul-crushing process of attempting to sell it for publication. The agents reject me by saying, "You're an extremely talented writer but...," or I reject them because they insist I turn my fun character-driven romps into pulse-pounding thrillers, and my years of work end in bitter disappointment.

I fret and sulk for weeks, drowning my post-book-breakup sorrows in strawberry cheesecake ice cream. I throw myself into sewing dresses or binge-watching East Asian dramas. Then I rally my spirits and declare, "I'm never going to write another book again!"

A few months later, a tidbit of conversation sparks a new story idea, or I spot one of my unfinished outlines on the computer, or I read a book that didn't meet its full potential and I know I could turn that premise into something great. I dwell on the story. I plot it out while driving to and from work. I tweak the key scenes in my head while falling asleep at night.

I convince myself I must write this book. My other books didn't sell because there wasn't a market for them, but there's certainly a market for this one. Every writer goes through a decade or two of rejection. It's part of the process! The successful writers aren't more talented than others, but more persistent. Anyway, I can't let a few dozen bad experiences with literary agents crush my dreams. My dreams aren't that delicate! They're tough and resilient!

Lather, rinse, repeat.

But I really mean it this time. I'm not going to go back to books. I'm moving on to pictures instead.

In years past I flirted with the idea of telling stories through comics and video games, but two things stopped me from pursuing them seriously: (1) my dysfunctional relationship with books, and (2) my utter lack of skill in drawing.

I can't draw because I don't draw. Unlike writing, I don't draw many times a day to communicate. Unlike coding, I don't have to master drawing to do my job. Unlike sewing, I don't have a practical need for new drawings I can use every day.

When I lived in Portland, I took one drawing class and made couple of comics and watercolors. I resolved to practice drawing as often as I could—to pay no mind to the quality of the results and keep at it.

2015-04-03

April 3, 2015

2015-04-04

April 4, 2015

2015-04-06

April 6, 2015

2015-04-11

April 11, 2015

2015-04-26

April 26, 2015

2015-04-27

April 27, 2015

2015-04-28

April 28, 2015

2015-05-08

May 8, 2015

But drawing slowly fell by the wayside. I drew only in spurts when I spotted something irresistibly cute or I had nothing else to do over breaks.

2015-05-31

May 31, 2015

2015-07-04

July 4, 2015

2015-10-02

October 2, 2015

2015-12-26

December 26, 2015

2015-12-28

December 28, 2015

In early 2016 I landed a new job in Central Oregon, and my drawing notebook disappeared into a box during the move. I wrote a cozy mystery, and then I developed a sudden obsession with sewing, and then Sweetie and I tied the knot....

After the wedding things finally settled down, and I thought giving art another try. Sweetie dug out the notebook, and I timidly added a few more entries: copies of panels from Usotoki Rhetoric.

2017-06-24

June 24, 2017

2017-06-25

June 25, 2017

2017-06-26

June 26, 2017

2017-06-27

June 27, 2017

2017-06-28

June 28, 2017

Then Sweetie bought me a drawing tablet, so I've been practicing drawing and painting digitally since.

Why am I going through so much effort to build my skills in art, when I don't have a natural inclination for them? Why not just forget about publishing and continue to write novels for the fun of it? For a long time now, I've felt that words alone aren't sufficient for the stories I want to convey.

1. Visual media require more work from the creators, but much less work from the audience.

Confession #1: Though I read novels frequently because I "should," I much prefer reading manga and watching dramas. I never get excited at the release of new books, but I jump up and down and squeal at the sight of a new chapter of Skip Beat! or a new episode of Father Is Strange. Unlike reading books, reading comics and watching shows is fun.

Of all fictional forms, written stories require the least effort on the part of the creators to make them and the most effort on the part of the audience to understand them. A single person can complete a novel in a couple of months, writing four to six hours per day on a cheap laptop. But after publication, every member of the highly educated audience must patiently extract the story from the words. For most people, reading 250+ pages of pure text is painful and unnatural, not enjoyable.

On the other end of the spectrum, movies and video games require the greatest effort by the creators and the least effort by the audience. Making a movie requires expensive equipment and years of work by production staff, actors, script writers, etc. A half-million dollars for a ninety-minute documentary is considered "low-budget."

In and of itself, reading is not much of a burden for most teens and adults in North America. The problem with books is that they require the audience to do nothing but read, all alone, for hours and hours. People will happily text through every meal and spend their coffee breaks with glossy magazines. They'll be thrilled to play video games with more total text than a complete novel, or watch twenty episodes of a subtitled foreign TV show. But they'd rather suffer the tortures of household chores, or high-intensity exercise, or parties hosted by neighbors they don't like, than spend one afternoon with a book.

2. "A picture is worth a thousand words."

Confession #2: When I read piles of fantasy novels as research for my wuxia trilogy, I liked very few of them and loved none of them. The reason: worldbuilding. Because fantasy novels take place in settings wildly different from contemporary America, they require pages upon pages of description—and many fantasy authors go far beyond what's "required" because they want to share every detail of the beautiful place they've dreamed up. More than once, I've shaken a highly acclaimed fantasy novel and shouted at it, "Stop telling me about the gold-fringed scarlet brocade curtains! I couldn't care less about the stupid curtains! Forget about the curtains and go steal the sacred orb already!"

As much as I hate reading descriptions, I hate writing them even more.

I enjoy writing dialogue and characters' inner thoughts, because those belong in words. We speak with words, and we often think to ourselves in words.

But settings and physical actions do not belong in words. We think of these things as broad visions and sensations, not in the minutiae described in books. The memory of a hike is not a catalog of all the rocks and trees, but the ache of tired legs, the scent of pine trees, and the beauty of the view at the summit. The memory of a romantic slow dance is not a play-by-play of steps and spins, but a rosy melange of emotions. Writing about these things is so difficult because words are simply insufficient; pictures can convey them much better in a single glance.

Conversely, pictures are great for conveying some things but lousy at conveying others. Facial expressions are better portrayed by actors than described by novelists. But because faces can only hint at the thoughts underneath, filmmakers often resort to voice-overs and flashbacks to explain what's going on in characters' heads. Actions and events too are better depicted in paintings than in mere words. But paintings alone don't provide context, so museums need to put up title placards and print out helpful pamphlets for visitors.

Washington Crossing the Delaware

If you didn't know this painting is called Washington Crossing the Delaware, you would have no idea that it depicts George Washington or that the icy river is the Delaware.

"Hybrid" media like comics and games can use both pictures and words to their greatest advantage. They can portray scene settings and action sequences visually, without forcing audiences to read boring descriptions. They can also convey background information and characters' thoughts in text, without immersion-breaking tricks like voice-overs.

When Sweetie first suggested converting the Xing Dynasty trilogy from books to games, I resisted the idea because of all the work involved. But when I realized I could then use images in place of description, and cut out whole swaths of boring worldbuilding text, the idea became a lot more appealing.

3. Comics and games offer new ways of telling stories.

Confession #3: Though I'm intrigued by comics, games, and movies that explore new ways of telling stories, I don't like "artsy" techniques in novels. When authors use creative line breaks to turn prose into pseudo-poetry, or put single sentences in the middle of otherwise blank pages to make a point, I roll my eyes and stop reading.

Because reading is mentally taxing to begin with, authors who try to convey new ideas by flouting the common rules of written language succeed only in breaking immersion and confusing readers. When what should be a complete sentence cuts off and
the words
do
this...
I don't think, "Wow, those line breaks beautifully convey the narrator's state of mind!" I think, "Huh? Is that a formatting error? Wait, the author did that on purpose? Ugh, she's one of those, isn't she? The ones who deliberately make their stories hard to understand to prove how 'creative' they are."

To be lucid enough for most readers to enjoy, novels can be written only one way: left to right, up to down, one grammatical sentence after another from beginning to end. Writers can bend the rules gently in dialogue and internal monologue, but nobody outside of a graduate-level English Lit program likes to read disorienting postmodern "masterpieces."

For the same reasons, "choose your own adventure" novels don't work well either. Every few paragraphs, the audience has to stop reading and concentrate on rifling through the pages, looking for a specific number, before resuming. Even worse than "poetic" gimmicks, these experiments force audiences to struggle with the medium itself just to access the words. It's like wrapping the stories in clamshell packaging. (See: Wrap rage.)

Visual artists have a lot more wiggle room. When making a comic, you can draw a full-page portrait with a large one-sentence speech bubble for impact.

Full page confession in manga

Words can flow many ways down a page or screen, as long as you properly direct your viewers' eyes.

Demonstration of page flow in manga

In games, stories can automatically branch into different paths based on players' choices, without disrupting the flow.

Demonstration of choice in a visual novel

Once I thought of all the interesting things I could do with the Xing Dynasty trilogy in game form that I couldn't do with text alone, the deal was sealed. My plan now is to create three visual novels, each with three distinct stories featuring different main characters. Each story can stand alone, with fully fleshed out plots independent of the other stories, but playing them all will reveal the complete picture of an overarching epic. Each main character's personality will subtly influence the art style of the world as seen through her or his eyes, and the choices players make will determine the story endings they see.

The project was ambitious enough in book form, and now it's a behemoth. I'll probably need three years or more to complete the first game alone, and they'll be long and frustrating years because I'm not a naturally talented artist and I require many hours to draw the simplest of subjects. But "art takes a long time" and "writing is easier for me" are not valid reasons to run back into the familiar arms of books. The many advantages of the game format far outweigh the single con of inconvenience.

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Sun, 20 Aug 2017 09:54:52 +0000blog.tkmarnell.com
T. K. and Sweetie Tie the Knot, Part 2: The Weddinghttps://blog.tkmarnell.com/wedding/After weeks of preparation, Sweetie and I were officially married on June 20, 2017, the tenth anniversary of the day we became "Facebook official." Though Facebook is dying away, we're still going strong!

My coworker Pat volunteered to take pictures of the ceremony for us, using our trusty Fujifilm Finepix S700. My mother gifted us this camera in May 2010, and it has recorded many big events since: a two-week vacation in Japan, a car trip to historic Philadelphia, a snowy New Year's Eve in Times Square...and now our wedding at Mirror Pond!

TK and Sweetie before the ceremony

Our officiant, Judge Peter A. Werner, kindly brought along a second witness for us named Annemarie. He read us our vows from a piece of paper tucked inside a very religious-looking copy of The Ultimate Hitchhiker's Guide.

Cover of the Ultimate Hitchhiker's Guide
Wedding vows

Since we hadn't reviewed the vows before the ceremony (whoops!) we didn't know exactly when we were supposed to say, "I do." Sweetie said it three times during pauses between questions. I forgot to say it at all, and Judge Werner had to remind me!

Sweetie putting on TK's wedding ring

While Judge Werner prepared the legal paperwork, Sweetie and I posed for glamour shots of our rings. Sweetie's is a plain 10K gold band from Kohl's. Mine is also 10K gold, custom-made with the help of Laurie at Cascade Jewelers in Bend. It has two cubic zirconias and one lab-created aquamarine in the center. Since Sweetie and I were both born in March, aquamarine is "our" birthstone.

We signed the marriage certificate at a picnic table on Mirror Pond Plaza. Technically these are pictures of us signing a ceremonial certificate, and the state will mail us the "legal" ones later.

TK signing the marriage certificate
Sweetie signing the marriage certificate

It was a hot and sunny day, so Pat treated us to refreshments in the coffeehouse by the Plaza, Crow's Feet Commons. The decor and menu of the Commons is pure Bend: one part rugged country, two parts urban hipster. For our "wedding snack" we had one of Sparrow Bakery's famous Ocean Rolls with sparkling orange juice in fancy glasses.

Our fancy drinks and my bouquet

Of course I forced Sweetie to pose for a K-drama style love shot.

Love shot

Finally we headed back to the water for more pictures. The photo shoot started out respectably...

Sweetie and TK on the pier

But then Pat headed back to work, and the camera fell into Sweetie's hands. And when Sweetie gets a camera in his hands, he starts climbing on things to find interesting angles, heedless of his formal suit and dress shoes.

TK with ducks
TK with flowers

He sent me to the other side of the pond for a landscape shot of the water, trees, and mountains. The photo will make a cool large print to hang up, but it's hard to spot me in the 400px version below. I'm the mint-colored speck in the bottom left.

TK at the side of Mirror Pond

When we arrived home in Redmond, Luna inspected my ring and deemed it acceptable.

Luna inspecting TK's wedding ring

After a nap and an early dinner at Shari's Cafe & Pies, I cut into the cake. This week we're playing The Legend of Zelda: Breath of the Wild together, so I naturally took my first bite from the Triforce.

Wedding cake
Wedding cake slice with Triforce

In the evening we drove down to Oregon Observatory at Sunriver. On our first date ten years ago, we went to Olive Garden and then sprawled out on the grass of a sports field at Indiana University to look at the stars. (This "date date" is not to be confused with our first "not date date" at a Mather's Museum special exhibit of chairs from around the world. That was merely a meeting to gauge each other's long-term relationship potential under the guise of exploring a common interest in international furniture.)

Our wedding-day version of looking at the stars was much more sophisticated. I don't have pictures because it was much too dark to take them, but we looked through many telescopes to see Jupiter, Saturn, a couple of binary stars, and some impressive star clusters.

Now we have been married for over twenty-four hours, and neither of us has asked for an divorce yet. Fingers crossed that it stays that way for the next fifty years!

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Wed, 21 Jun 2017 15:58:35 +0000blog.tkmarnell.com
T. K. and Sweetie Tie the Knot, Part 1: The Preparationshttps://blog.tkmarnell.com/wedding-preparations/Sweetie and I are now officially an old married couple. For ease of URL-sharing, I've split my post about our wedding into two. First, the preparations!

The Cake

While Sweetie was still in Indiana, over Skype we designed a cake that represents the activities we've shared over the past ten years. My single community college drawing class didn't give me the skills to freehand the design, so I researched how to trace patterns onto cakes for decorating. The Internet instructed me to...

  1. Use an image editing program to flip the design horizontally. Print it out. Trace the pan you'll be using around the design to make a perfect cake-sized template.
  2. Put the template on a solid surface, like a piece of cardboard or a pane of glass.
  3. Tape a piece of transparent parchment or wax paper over the template.
  4. Pipe colored buttercream frosting directly onto the parchment paper, following the template underneath.
  5. Fill in the rest of the template with background frosting to create one massive cake topper.
  6. Freeze the topper overnight.
  7. Flip the frozen topper onto the top of the prepared cake. Carefully peel off the parchment paper.
  8. Gently smooth out the bumps and lines in the frozen frosting with a clean finger.
  9. Bask in the compliments on your supposed artistic genius!
TK's hands piping butterfly on wedding cake
Picture of TK making wedding cake
Wedding cake design in buttercream
Buttercream design transferred to cake
Finished cake on cardboard

The Dress

Sewing the dress was a month-long process. I chose the fabric first: a mint polyester charmeuse. Since charmeuse is thin and slippery, I decided to draft a very simple pattern for it—princess seams, a low back, and a long half-circle skirt. Then I glammed up the arms and neck with pearl embellishments my mother sent me.

TK's wedding dress, front
TK's wedding dress, side
TK's wedding dress, back
TK's wedding dress, back

The pearl flower at the base of the low back hides the zipper slider. The idea was a "happy accident." I hadn't expected the top of the zipper to look so sloppy, and when casting around for ways to fix it I spotted the pearl flowers I'd planned to use in hair accessories. I sewed hooks to one flower and eyes to the dress, and now after zipping up I can attach the flower over the top.

The lace along the sash and hemline was also a "happy accident." When I sewed the skirt, the charmeuse twisted and left me with an ugly bunched-up hem. I bolted to Jo-Ann Fabrics and found a pretty bridal-looking nylon lace to cover up the bunching. Then I added the lace to the sash for cohesion.

Later I'll cut the skirt to tea-length and replace the sash with another color, and then I'll have a regular party dress for other occasions.

The Accessories

For my hair, I took a cheap plastic headband and covered it in several coats of silver nail polish. After letting it dry for 24 hours, I used E6000 industrial-strength adhesive to attach another pearl flower to one side.

TK's wedding headband

For my shoes, I found a pair of gold ballet flats at Payless Shoe Source. I used the E6000 to decorate the toplines with the same pearl strings I sewed along the neckline of my dress.

TK's wedding shoes

The Miscellany

In the week leading up to the ceremony, I purchased our rings, prepared Sweetie's suit and tie, and colored my hair black with a vegan PPD-free dye that turned my skin and bathtub various shades of blue, purple, and green. Sweetie flew back from Indiana five days before the wedding—just enough time to apply for our marriage license and scrub the "chariot," a.k.a. the 2002 Ford Taurus.

These preparations complete, we had only to wait for the clock to tick down to Part 2: The Wedding.

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Wed, 21 Jun 2017 15:58:27 +0000blog.tkmarnell.com
Writing in the Age of Entertainment Overloadhttps://blog.tkmarnell.com/entertainment-overload/Last weekend I devoured the first two books of M. C. Beaton's Hamish Macbeth mysteries. I knew I'd found a new favorite author to add to my collection when I read these paragraphs at the top of page two of Death of a Gossip (1985).

John Cartwright was small, thin, wiry, and nervous. He had sandy, wispy hair and rather prominent pale blue eyes. Heather had been one of his first pupils at the Lochdubh School of Casting: Salmon and Trout Fishing.

He had been seduced by the sight of her deft back cast and had only got around to discovering the other pleasures of her anatomy after they were married.

But while these books make me very happy as a reader, they also make me melancholy as a writer...because we can't write like this anymore.

M. C. Beaton breaks every rule in the twenty-first-century publishing playbook. She head-hops. She "tells." She devotes more page time to character portraits, light romance, and comic hijinks than she does to the simplistic crimes. The Hamish Macbeth mysteries are books about life in charming small-town Scotland set against the backdrop of a murder, not the other way around.

When Beaton wrote Death of a Gossip in 1985, St. Martin's snapped it up and turned it into a beloved series with thirty-four titles and a three-season BBC adaptation. If a hopeful unknown were to submit the same manuscript to agents and editors today, she would be universally rejected.

As I received feedback from agents for my manuscript of Whacked in the Stacks, I saw one verdict repeatedly: "It's too slow." Agents say the heroine is delightful, her rocky relationship with her sister is relatable and touching, and her flirtation with her childhood crush is adorable...but I need to change all that if I want to sell the book. The heroine must discover the dead body ASAP. She must rush to solve the murder against a ticking clock. I can't waste any pages on comic scenes or relationships that don't have anything to do with the mystery.

Whacked in the Stacks is zippy compared to the ambling 1985 Death of a Gossip. But now it's 2017, and anything short of a Sonic-the-Hedgehog pace won't sell anymore.

Publishing experts today warn that if a paragraph is boring, the reader might close the Kindle app and tap over to Instagram. If a chapter ending is too satisfactory, the reader might take a nap and forget about the book. They say the age of Tweets and binge-watching has made modern readers so impatient, so accustomed to high stakes and lightning-fast plots, that if you write one single scene of quiet introspection they'll immediately get bored and put the book down.

Is it true? I think no...and yes.

Have readers changed? No.

I don't think the Internet has fundamentally changed the way people read books or watch shows. People have always enjoyed stories full of twists and cliffhangers.

  • In the Greek epic poem The Odyssey (8th century B.C.) the hero sails from one narrow escape to another until he charges into a harrowing battle to reclaim his wife and palace at the end.
  • In Shakespeare's Hamlet (c. 1600), every act ends with a promise of titillating scenes to come. Act I ends with Hamlet setting off for revenge. Act II ends with Hamlet plotting a stage play to expose the king's crimes. Act III ends with Hamlet murdering Polonius in front of the queen, and Act IV ends with the queen's dramatic announcement of Ophelia's death.
  • The first volume of Jane Austen's Pride and Prejudice (1813) ends with the sentence, "To Pemberley, therefore, they were to go," which leaves readers squealing in anticipation of Elizabeth's inevitable reunion with Mr. Darcy.

People have also always enjoyed slower stories with poetic writing and great characters, and that hasn't changed either. Who do people cite as their favorite authors of all time? Jane Austen. Leo Tolstoy. Margaret Atwood. The Handmaid's Tale is so slow even I couldn't get through the first chapter.

Tastes haven't altered much in a couple of millennia. The Internet didn't suddenly change our definition of a good story in a couple of decades.

Instead, what the Internet really did change was the entertainment economy.

Has publishing changed? Yes.

When I was growing up in the dark ages of the 1990s, adults flew into a tizzy over the horrifying news that kids were spending two to three whole hours a day in front of TV and computer screens. Then the Internet came along, and now spending most of your time staring a screen is the norm.

Today people walk around with thousands of movies and books in a tiny computer in their pockets. They can subscribe to Netflix for roughly one hour's entry-level wage per month. They can access hundreds of eBooks for free through their public libraries.

In the face of this entertainment overload, turning a profit has become much, much tougher for book publishers.

In the 1980s, when St. Martin's snapped up Hamish Macbeth, publishers could afford to offer readers many kinds of stories: slow and thoughtful stories, cute and fluffy stories, dark and thrilling stories. But now agents and editors have to be more selective about what they acquire, and the books they put out have to appeal to the widest audience possible. In the publishing world today, there is only one "good" story: the unputdownable story. Every book must be a hard-hitting Sonic-the-Hedgehog page-turner. There is no room for cuteness anymore.

Overdrive Mysteries

What does this mean for me?

Whacked in the Stacks is like the song "Have a Nice Day" by the Japanese singer Nishino Kana. It's charming, uplifting, and a little bittersweet. The sound is bubbly, and the lyrics are about a woman cheering herself on when work is exhausting and her dating life is a mess: "Do your best, me! Do your best today too...You're great, me! Don't lose, be patient, don't lose heart. Just like this, even today, I can live with all my might."

[https://www.dailymotion.com/embed/video/k31pEH6R1gYPl9ipOWK]

It's a lovely song to bop along to in the car, but it's not "danceable," the musical equivalant of "unputdownable." It doesn't make your pulse pound, and it doesn't stick inside your head for hours afterwards.

On the other hand my next project, the wuxia trilogy, is like "Last Romeo" by the Korean band Infinite. To epic rock-orchestral music, the boys sing about an all-consuming love: "Shine on my path; whether I want it or not, the decision has been made. I will put everything at risk. I will protect you no matter what hardships come. I can't see anything else but you."

[https://www.youtube.com/embed/H2Zs__40ffo?start=53]

This song is the essence of "high-concept." It gives you the breathless feeling agents and editors today want to experience when they read a manuscript. They want heartwrenching dramas that sweep them off their feet. They want the sort of books that make readers Tweet words like "obsessed" and "addicted"—the sort of books that have the potential to be international smash hits.

If you were to take "Have a Nice Day," trim out the slow intro, and speed the whole thing up, you wouldn't turn it into "Last Romeo." You'd only ruin the song by making it sound ridiculous.

Similarly, if I were to take out everything in WITS that is not the mystery, put in more twists and villainous plots, and turn the heroine into a fearless investigator who suspects everyone in sight of murder most foul, the novel wouldn't suddenly become The Girl on the Train. It would only become a faster and less affecting version of the cute fluff it is now.

I like fluff. Fluff should be fluffy. I don't want to douse my fluff in kerosene and light it on fire just to make things more exciting. Because publishing WITS would require me to do just that, I've decided to file the manuscript away for now. I'm going to take a short breather and then start work on my wuxia trilogy, which will be a blazing fire by nature.

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Thu, 01 Jun 2017 08:55:33 +0000blog.tkmarnell.com
Surprising Similarities between Sewing and Writinghttps://blog.tkmarnell.com/sewing-and-writing-similarities/Life is crazy, and I'm not sure it will ever be sane again. Sweetie is zipping between Oregon and Indiana to settle his father's estate, I'm hyperventilating over manuscript requests from literary agents, and the two of us are having big talks about marriage and houses.

Only a few months ago, all of these things were far away concerns for our future "adult" selves to worry about. Our parents were supposed to live for two or three more decades. We didn't expect to buy a home until our mid-thirties, at least. And now that my vague sparkly dreams of publishing are slowly solidifying into a conceivable reality, I'm terrified.

I feel like the minute I turned twenty-nine, the fates checked the calendar and said, "Whoops! You're about ten years overdue for your coming-of-age trials. Here, do all of these now and become a grown-up."

And so this blog post has been sitting in my drafts since March 26, ten days before our nicely ordered world collapsed like a Jenga tower. Over the past month I could write "academic" posts about storytelling and literary criticism, but I couldn't bring myself to post about sewing pretty dresses while Sweetie was ordering death certificates. Now the worst of it is behind us, Sweetie is home (albeit temporarily), and it's a good day to talk about pretty dresses.

The Dresses

I finally did it—I sewed a qipao! After the satin disaster, I tried again with a mildly stretchy linen/rayon blend for the fashion fabric, with poly/cotton shirting for the lining. I tied the frog closures myself from some black nylon cord with the immeasurable aid of YouTube videos.

Cheongsam - Front

Cheongsam - Side

Cheongsam - Top

Then over Easter weekend I made myself a faux-wrap dress out of a colorful Liverpool double knit fabric. The fabric is non-reorderable, which makes me sad—someone needs to set up an affordable print-on-demand service for fabrics.

Wrap Dress - Front

Wrap Dress - Side

Wrap Dress - Back

Sewing and Writing

Sewing and writing seem like very different creative endeavors, but as I learned more about dressmaking I found many surprising similarities.

1. The actual sewing/writing is not the hard part.

When people who don't sew think about sewing, they think about, well, sewing. The physical labor of stitching cloth together. It's so-called "women's work," a mindless chore or frivolous hobby that supposedly requires little thought or skill.

But the physical labor of sewing is only the last and easiest step of the process. The real work is in all the things that must be done before a needle goes anywhere near the fabric. Measuring bodies, calculating pattern pieces, planning out garment construction. Studying the properties of different fabrics, thinking in three dimensions, considering how people move and bend. Tracing, cutting, pinning, basting, fitting (every step of the way!), and making adjustments.

Similarly, when people think about writing, they think about writing. They imagine writing a book is a simple matter of sitting down to type 80,000 words. Even writers believe it. We tell each other that the secret to writing great novels is "butt glue." Just glue your butt to your office chair, turn off your brain, and hammer out 1,000 words a day, and brilliant stories will magically craft themselves.

In reality, hammering out the words is the fun and easy part of writing. Just like in sewing, the hardest and most important part of writing is thinking. Developing characters, laying out plots, weaving in settings. Studying the tropes of genres, considering how people read, designing scenes to make readers feel wonderful and terrible things. Outlining, drafting, and revising, revising, revising.

Impatient people might be tempted to skip all that because it's too bothersome. They say outlining "sucks the joy out of writing," and revising "dilutes the artist's natural voice," and other such excuses that all boil down to, "I just want to skip to the fun part."

This is like an impatient new sewist cutting into her fabric with no pattern and no plan, because she doesn't want to fuss with measuring tape and "math makes her head hurt." Well, she might get the project done, but she can't expect it to be couture.

2. When you first start sewing/writing, you'll discover many things you didn't know you didn't know.

Did you know that sleeves were invented by Satan himself? I didn't until I attempted to draft one.

I'd never given a thought to sleeves until I wanted to add them to the first dress I designed. Vaguely, I must have thought they were merely tubes of fabric. They are not. They are these crazy things.

Basic Sleeve Pattern

Over my lifetime, I've worn countless sleeves. I pride myself on having a reasonably good eye for fashion, and I can tell a pretty sleeve from an ugly one. But until I drafted and sewed a sleeve myself, I had no idea how complicated they are.

Most people start writing because they're avid readers. They love books, and they're discerning critics. They can tell a good story from a bad one.

But there are many things about books that a person will discover only by writing them. Thinking like a creator is very different from thinking like a critic. Here's a famous quote by Ira Glass, host and producer of the long-running radio program This American Life.

"All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it's just not that good. It's trying to be good, it has potential, but it's not....It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions."
3. No project turns out perfectly on the first try.

That deceptively simple-looking cheongsam at the top of this post required three attempts. A full six yards of fabric went into the trash (or my shoe box of crafting scraps).

Here are the notes I kept during the process. The notes under each version detail what went wrong and how to fix it on the next try.

* Muslin *
Skirt hugs pelvis -- Shorten skirt waist darts by 2" all around
Skirt too bell shaped -- Make skirt waist darts straight, not concave; reduce curve of cut at hips; reduce hip ease by 1/2" on each side
Tapered skirt not flattering -- Cut A-line instead
Sleeves too tight -- Add 1" additional ease and bring out armholes 1/4" on each side

* Satin *
Bodice stands away from body -- Add shoulder dart 3" long, 1" wide to outer bodice piece
Collar too short -- Lengthen by 2", extend inner bodice piece by 1"
Sleeves still too tight -- Widen and shorten caps

* Linen *
Waist too snug for non-stretch fabric -- add 3/8" of ease on each side (fixed this time by letting out back darts by 1/2" each, front darts by 1/4" each)

I probably spend twice as much of my sewing time on alterations as I do on actual garment construction, because every attempt is an imperfect one. Even dressmakers with decades of experience need to sew up muslins and do multiple fittings to get a garment just right. Likewise, even authors with dozens of books to their names will still need to revise, revise, revise.

And by "revise," I don't mean they make some small tweaks and call it good. They have to be willing to trash those six yards of fabric they'd worked on for three weeks and try again.

Over the next few months, I'll be rewriting about a third of Whacked in the Stacks. I'm moving events around to improve the pacing of the plot, cutting whole chapters of dead weight, and introducing new characters to make conflicts more interesting. Revision isn't something that can be done by halves. As Mary Kole says in her blog post "Big Revision," the word means "to see again," to see the story in a new light and make drastic changes, not "to shovel text like a kid pushing peas around his plate."

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Sun, 14 May 2017 13:33:42 +0000blog.tkmarnell.com
Preaching in Fictionhttps://blog.tkmarnell.com/preaching/In my last post I talked about a modernization of Pride and Prejudice that disappointed me. I said I didn't enjoy the novel because, though it had all of P&P's beloved characters and basic events, it lacked the story that makes the reading experience of the original so magical.

The modernization also rubbed me the wrong way for a second, even stronger reason: it's one of the preachiest books I've read in years.

When I say the book is "preachy," you might imagine something along the lines of C. S. Lewis and his unmissable religious symbolism, Rudyard Kipling and his not-so-subtle imperialism, or Harriet Beecher Stowe and her in-your-face paternalism. If you do, you're on the right track. This book had the heavy-handed moralizing of Uncle Tom's Cabin in a twenty-first-century flavor. Instead of "Christian charity! Christian charity!" the novel screamed "Social justice! Social justice!" until my ears were ringing.

Every story, in some way or another, is a morality tale. Stories are how people around the world express cultural values: what is heroic, what is villainous, how society should reward the heroes and punish the villains. We write books and make movies for entertainment, but also to build our collective understanding of an ideal universe.

It's perfectly natural for authors to use their stories to show the difference between right and wrong. However, there are stories with good moral lessons, and then there are sermons masquerading as stories.

Sign of Preaching #1: The "Point" Overshadows the Plot

The author of that P&P modernization ruined the story because she was trying to "make a point." Many points, actually.

  • Jane's relationship with Mr. Bingley falls apart when Jane gets pregnant through IVF. The author wanted to make the point that it's a woman's individual choice to have children or not, and everyone should respect that.
  • Mr. Wickham plays no real role in the story because, instead of finding out he's a money-grubbing cad, Elizabeth finds out he's a racist. The author wanted to make the point that racism is bad.
  • Lydia randomly runs off with a trans man because the author wanted to make the point that everyone should be allowed to love whomever they want, and no one has the right to judge.
  • Lady Catherine de Bourgh is a famous second-wave feminist with no business being in the book because the author wanted to make the point that strong women should be applauded, not reviled.

The problem with the novel isn't these "points" themselves. The points are all good points.

But instead of working her points into the story structure of P&P, which could be easily done, the author wrote a long egalitarian sermon. She could have saved herself a lot of trouble, and her readers a lot of time, by dispensing with the charade of writing a novel and simply printing big posters that say, "Racism is bad! Sexism is bad! So is slut-shaming and fat-shaming, by the way. Liberty and justice for all!"

Sign of Preaching #2: Characters "Tell" the Morals

Many times in the P&P modernization, Elizabeth Bennet pauses to reflect.

  • She reflects that her mother's racism is subtle and insidious, as shown by how she takes the maid for granted and distrusts the real estate agent because he's black.
  • She reflects that while she dislikes her younger sisters for being so vulgar, she also admires them for being so open about their feelings and so unashamed to go after what they want.
  • She reflects that anorexia is a terrible disease, and that's why she tries her best to avoid talking about diet and exercise with other women.

And so on, and so forth.

Now, the original Elizabeth Bennet spends plenty of time reflecting, but the focus of her reflections is very different. She looks back on her own behavior to figure out her heart and mind, or she evaluates the actions of other people to figure out their characters and motivations. But she never pauses to profess, in a thinly disguised way, her opinions about current social mores.

Fearing that readers wouldn't get The Point from modern Elizabeth's extensive reflections, the author also made sure some of the characters voice her morals plainly. Mr. Darcy explains that Mr. Wickham's vicious prank against a black teacher was racist, in case that wasn't abundantly obvious. He also points out that Lydia's choice of husband is no one's business but her own, in case we readers in 2017 might suffer from doubts on that score.

Like complex emotions and character motivations, morals are higher-order concepts a writer should show, not tell. Modern novels are not ancient Greek plays. We don't need a chorus at the end to sing about how fate can't be changed and hubris leads to ruin.

The Moral of This Post

If you want to make the point that racism is bad, show readers how the racist words and actions of some characters hurt other characters. If you want to make the point that powerful women are admirable, introduce powerful female characters who play heroic roles in the plot.

When you preach morals to an audience, they roll their eyes and make sarcastic snoring noises. If you instead tell an audience a riveting story and let them figure out the morals for themselves, not only will the experience be more enjoyable for everyone, but the lessons will sink in deeper and stay with them longer.

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Sat, 06 May 2017 12:29:13 +0000blog.tkmarnell.com
What I Learned from Pride and Prejudice: Maximizing Potential for Happinesshttps://blog.tkmarnell.com/what-i-learned-from-pride-and-prejudice/Outlining Rainie Day Mystery #2, in which the murder takes place at the Sea Breeze Jane Austen Society's Annual Regency Ball, has given me the happy excuse to revisit Austen's works. I've been spending my evenings reading the novels on Project Gutenberg and watching the movie adaptations on Amazon...all for the sake of "research," of course.

My opinion of this literary great, and particularly of her most popular novel, Pride and Prejudice, has vacillated over the years. I adored Austen as a teenager. Then I derided her in my early twenties, when I discovered her imperfections. Now I can enjoy her stories despite their flaws.

As I reflect on the novels and read what other people say about them, I've been thinking about what makes Pride and Prejudice (henceforth "P&P") so much more popular than the others. I've proposed theories on this blog before: P&P has the most likeable heroine, and the story focuses on romance while Austen's other novels are primarily coming of age stories.

But there's something magical about P&P that sucks a reader in more than the others. It's not the brilliance of the characters—the cast of Emma is much more interesting. It's not the wittiness of the writing—the satire in Northanger Abbey is much more amusing. And it's not the pacing or originality of the plot—Elizabeth Bennet is completely reactive, and the plot points of P&P are tame compared to the scandalous secrets, betrayals, and brushes with death in Sense and Sensibility.

No, that special something is not in either the idea or the execution of the novel. The magic of P&P is in its basic story structure.

1. Of all Jane Austen's novels, P&P has the happiest ending.

As I wrote in my March 2016 post, "Thoughts on Conflict and Tension," conflict creates narrative tension because it takes the characters farther away from happiness. This means the potential for happiness has to exist in the first place. "There's no tension when a character sits around moping about the pointlessness of life," I said. "There is tension when a character wants very much to live happily ever after with his college sweetheart, but she disappears without a trace, and he's desperate to find her."

There are two ways to add tension to a story. One is to make the characters' situation worse. Inflict greater and greater misfortunes upon the poor cast until their accumulated misery explodes in the climax and fizzles away in the resolution. This does make for an exciting read—however, overdoing it will inflict misery on the poor readers as well. I've read several dark novels in which every character was a jerk and every scene was a humiliation or a heartbreak for the hero. By the time the hero was facing mortal danger to save the world, I was thinking, "Who cares? This world isn't worth saving."

The other way to add tension is to attack from the other end. Make the promised resolution of the story happier.

Here's a boring movie: An alcoholic former athlete must clean himself up to recover his health.

Here's a better movie: An alcoholic former athlete must clean himself up and lead the high school soccer team to victory to regain the respect of the community.

Here's a poignant movie: An alcoholic former athlete must clean himself up, mend broken friendships, and lead the high school soccer team to victory to regain the affections of his long-suffering wife and their adorable young son.

Each successive hypothetical movie above raises the stakes, not by making the situation more dire, but by making the rewards more desirable. The first movie would make an audience go, "So what?" The third would make them go, "Aww..." The greater the potential happiness, the more tragic the obstacles standing in the way, especially if those obstacles are the characters' own doing.

Elizabeth Bennet and Fitzwilliam Darcy are an ideal couple. Austen shows us how perfect they are for each other through their sparkling conversations, which are disagreements on the surface but hold the promise of harmony in the future. Elizabeth attempts to tease Darcy, and he thwarts her with gallant responses. They get so absorbed in their playful duels of wit that other characters feel the need to cut in and yank them out. And though they claim to dislike each other, Darcy defends Elizabeth against the nasty Miss Bingley, and Elizabeth defends Darcy against her vulgar mother.

Readers can see almost immediately that these two are on the same wavelength. They're equally matched in brains, in humor, and in vanity and stubbornness. Once they conquer their misunderstandings, they'll be the best of friends. We keep turning the pages because we desperately want to see these two likeable characters resolve their problems and live happily ever after.

The incentive to turn the pages isn't as great in any other Austen novel because the happily-ever-afters aren't quite as happy. Every other romantic pairing is subdued or flawed in some way—the heroines are much younger and less mature than the heroes (as in Emma and Northanger Abbey), or the characters just aren't very interesting (as in Mansfield Park and Persuasion), or both (as in Sense and Sensibility). All of these novels have conflict aplenty, some even more than P&P, and yet readers who make it to the marriage proposals at the end will say, "That's nice," not "Yes! Finally!"

2. Every conflict in P&P directly threatens the happy ending.

I didn't realize how tightly plotted P&P really is until last weekend, when I read a modern retelling of this beloved novel that had the same basic characters, and the same basic events, but no story. In the author's eagerness to stuff the story into the 21st century by erasing all traces of sexism, she also erased all the interesting and relevant conflicts.

  • The initiation, temporary demise, and restoration of Jane's relationship with Mr. Bingley occur completely independently of Mrs. Bennet's scheming, and nearly independently of Mr. Darcy's meddling.
  • The dastardly Wickham is an overgrown frat boy who strings Elizabeth along, but he never touched Darcy's sister Georgianna and never meets Elizabeth's sister Lydia. Elizabeth wises up and ends her relationship with Wickham before she gets involved with Darcy, and Wickham has no part in the story thereafter.
  • Lydia elopes with a trans man she's been dating since the beginning of the novel. But though the conservative Mrs. Bennet flies into hysterics, everyone else points out that Lydia really did nothing wrong. So there's no need for Darcy to win Elizabeth's heart by saving her family from social and financial ruin—she merely realizes she's in love with him after spending more time with him at holiday barbecues.
  • The powerful Lady Catherine de Bourgh is a famous second-wave feminist who has no relation to Darcy, no objections to to Elizabeth, and really no purpose for being in the story at all.

So this "retelling" ended up being a collection of events that relate to each other only sequentially: scene A comes before scene B, but scene A doesn't cause scene B. Mere bickering and flimsy misunderstandings separate the lovers, and mere happenstance brings them back together.

Every time I read the original P&P or watch the faithful movie adaptations, I cringe when Mr. Darcy explains why he doubted Jane's affections for Bingley, because Mrs. Bingley's manipulative schemes are finally coming back to bite her. I tear up when Elizabeth receives Jane's letter about Lydia's elopement and realizes she'll never see Mr. Darcy again, because she could have prevented the disaster by telling her family about Wickham's history of seducing fifteen-year-old girls. I chortle when Lady Catherine de Bourgh huffs off to tell Mr. Darcy all about the impudence of Miss Bennet, because she's only bringing about the very union she's trying to prevent.

But when I read the modernization, I never once cringed, teared up, or chortled over the plot events. I didn't delight in the ups or despair in the downs of the main couple's relationship. None of the plot points were the consequence of the main couple's previous decisions, and very few of the conflicts affected their ultimate happiness.

Let us return to our alcoholic former athlete, who'll we'll presume is in the poignant version of the movie. Here's a series of conflicts that he might face in a boring plot.

  • The assistant coach of the high school soccer team doesn't respect him and undermines his authority in front of the kids.
  • The president of the PTA objects to him and starts a petition to get him fired.
  • The rival soccer team plays mean pranks on the kids and lowers their morale.

Are these conflicts? Yes, they are. Will anyone care? No, because these conflicts have very little to do with the protagonist's ultimate goal of living happily ever after with his wife and child.

Now here's a series of conflicts that would make for a much more interesting movie.

  • The athlete gets off on the wrong foot with the soccer team by arriving late to the first practice with a hangover and no training plan. He treats the kids with contempt. Half of the team doesn't come back, and the remaining players don't respect him.
  • One of the kids he insulted is the son of the PTA president, who starts a petition to get him fired.
  • After a disastrous PTA meeting, the athlete has a relapse and comes home drunk. His little son wants to play, and the athlete shouts at him. Terrified, the boy begins to cry. The long-suffering wife packs up and leaves with the child.

Now to earn his happily ever after, the athlete will have to sober up, bond with the kids by getting sweet revenge on the rival team, and show his wife he's changed by being responsible and winning the championship game.

These interesting events are not materially different from the boring versions, but (a) they're related causally and (b) at every step, you can feel the pain the protagonist is causing to himself and to others. When you watch him botch the soccer practice, you know he's going to regret it later. When you watch him shout at his little son, you know he's breaking his own heart as well as his wife's. These events aren't just random occurrences that leave you asking, "So what?"

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Tue, 02 May 2017 20:03:06 +0000blog.tkmarnell.com
With Great Authority Comes Great Responsibilityhttps://blog.tkmarnell.com/authority/Today I'm going to talk about a subject near and dear to every academic librarian's heart: authority.

Now when librarians talk about "authority," we don't mean the word in the common sense of "the power to enforce laws, exact obedience, command, determine, or judge." We use it in the context of evaluating sources, i.e., "Does the author of this book or article have the authority to write on the topic, or is he a random Joe Schmoe with no claims to expertise?"

What is "authority" in publishing?

The concept of authority is difficult for students to grasp because it's not "real." It seems to be completely arbitrary. College students know they're supposed to use academic journals instead Wikipedia, but why? Who says this stranger with a PhD must be more trustworthy than this other stranger with the screen name scienceguy1985? The information from both strangers is the same anyway!

Authority seems arbitrary...because it is somewhat arbitrary. The truth is, authority isn't actually a question of whether a person is qualified to write about a topic. It's a question of whether other people will believe this person is qualified to write about the topic.

"For example," I tell the classes, "If you say to your friends that you read on Wikipedia that sugary snacks worsen symptoms in kids with ADHD, they might say, 'Oh, that makes sense!' But if you write that in a paper, your readers will tear you apart. Readers, especially ones who disagree with you, are always on the lookout for weaknesses in your sources. They'll scoff, 'Well, that's just some quote from Wikipedia. Anyone could have made it up.' But if you can find that same quote in an article by researchers at Harvard Medical School, they'll say, 'Well, I guess that must be true. People at Harvard know what they're talking about.'"

In reality, the anonymous authors who contributed to the Wikipedia article might know more about ADHD than those researchers at Harvard. People at Harvard have published just as much nonsense over the centuries as people from anywhere else. But what's important, when picking sources for an academic argument, is that your audience will believe Harvard studies are always reliable.

"Authority" is the reason why people in the publishing world talk so much about platform. Having a platform is especially important for nonfiction writers. Even if an amateur historian/psychologist/etc. has the same knowledge as an Ivy League expert, if she can't put "Dr." in front of her name and wax at length on her accomplishments in the field, nobody will buy her books. It's not fair, but it's true.

In fiction, an author's platform is slightly different. Potential readers don't look for PhDs from fancy universities, but they do look for literary awards, celebrity endorsements, and other evidence of "quality." People are much more likely to take a chance on an author with a dozen critically acclaimed books and a "bestselling" label to her name than on a newbie with no apparent credentials.

The essence of authority is trust.

Authority is something we, as a society, give to people because we trust them. We trust researchers from Harvard to write medical articles with solid data and flawless reasoning. We trust people with "Dr." in front of their names to tell us the truth about history/psychology/etc. We trust people in police uniforms to enforce the law fairly.

So we're outraged when scientists publish lies, when police murder innocent citizens, or when high school teachers prey on impressionable young students. If an inner-city gangster lies, kills, or rapes...well, that's horrible, but we don't expect any better. But the scientist, the cop, the teacher? We trusted these people, and they broke our trust and stomped all over the brittle fragments.

Writers, even in fiction, have more authority than many realize. Simply by being authors we have authority. (Who'd-a-thunk?)

When a reader picks up a book, she basically hands her heart over to the author on a silver platter, saying, "Do with it what you will." She trusts the author to do great things with her heart, to make it race and stop and soar in an unforgettable experience.

And that's why, when a novel doesn't deliver that experience, readers are infuriated. They wouldn't get angry about a $15 lunch with a disappointing dessert, but they'll storm and rage about a $15 paperback with a disappointing ending. The author beguiled them into handing over their hearts, and then she just dropped them in the dust and walked away.

Never break a reader's trust.

After I wrote my previous post, "In Defense of Telling," my mother emailed me with a comment on my complaints about "bait and switch" openings. She was recently certified to teach cycling classes, and the award-winning personal trainer who led her certification course said, "Never trick your trainee. Build trust and follow through with your word."

In the past few months, I've read a couple of books that "tricked" me as a reader. The author set up expectations in the beginning, but then she didn't follow through with her word.

One of them was a YA fantasy, the sequel to a bestselling novel I thoroughly enjoyed. When I finished book #1, I thought I'd found a new favorite author to add to my ever-growing list. I was excited to learn it was the first of a trilogy, and I eagerly downloaded the audiobook of #2 from my local public library and listened while sewing.

The book is about a teenage girl who can control minds. If she desires, she can force anyone in the world to love her, to tell her all of their secrets, to do whatever she wants them to. Everyone fears and distrusts her, especially the prince of the kingdom. The heroine's father, who had the same ability, used it to lead the king down the path of ruin. The prince despises him for it and would never, ever trust her, a monster like him.

"Ooh!" I thought while ripping out tangled stitches. "This is gonna be amaaazing!" Just imagine it: the girl struggling with the temptation to use her ability, trying to remain a good and kind person even though victims of her evil father want to kill her and powerful royals want to use her for their own ends. The handsome prince, falling in love with her but resisting it every step of the way, because he can never tell if his feelings are real or if he's being brainwashed by that wicked siren. The conflict! The heartache! Bring it on!

And then...nothing.

The author did absolutely nothing with this amazing setup. That heartbreaking romance? After one minor act of kingdom-saving by the heroine very early on, the prince feels bad for saying mean things and decides to treat her better. They get to know each other during long walks in the moonlight. They become best friends and eventually lovers. End.

And that internal struggle to be a good person? Well, after some nice people in the palace convince the heroine she can use her powers for good, she thinks quietly for a while (and by "a while" I mean many, many chapters) and decides to accept her power and herself. She helps the royal family put down rebellions and soon everyone in the kingdom worships her. End.

The book was very mature, very realistic, and mind-numbingly boring. I listened to all twelve hours of the audiobook on principle, wondering all the while how the same author who wrote that wonderful book #1 could turn out a dud like this.

Writers say conflict drives plot. While that's true in essence, it's not the whole story. Conflict, by itself, doesn't drive anything. It's only a setup, a promise of exhilarating scenes to come. What really drives the plot is how characters react to conflicts: fighting, fretting, trying to fix problems only to create more of them.

So it's not enough to say, "The prince and the heroine hate each other but they're destined for each other. Isn't this exciting?" If the conflict doesn't put the characters in painful situations, doesn't force them into ugly confrontations with each other or themselves, the story will still be a dud.

Setting up a conflict, but then doing nothing with it, is breaking a promise to readers. So is hinting at a romance that never blossoms; or introducing a villain who doesn't do villainous things; or portraying the heroine as a kick-butt warrior on page one, only to have her spend the next 300 pages wallowing in self-doubt and pining for hot guys. Like the personal trainer said, you have to follow through with your word.

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Fri, 21 Apr 2017 09:43:57 +0000blog.tkmarnell.com
In Defense of Telling: Orienting Readers and Respecting Their Timehttps://blog.tkmarnell.com/in-defense-of-telling/I recovered from my crisis of confidence, but I still have yet to begin Rainie Day #2 because of matters of life and death. Literally. In the past month, I attended two conferences and a funeral. (Not quite as catchy as Four Weddings and a Funeral, but believe me, it's been just as manic and emotionally fraught around here as that movie.)

I have many things to write about, but I'll save the heavy subjects for another day. Today I want to talk about that ubiquitous and well-meaning, yet ultimately reductive "rule" of writing, "Show, don't tell."

The morning after I came back from the funeral, I dragged myself to work and opened my email accounts to find some feedback on my manuscript for Whacked in the Stacks: "There's too much telling rather than showing in the opening pages."

This email was upsetting for many reasons, and only one of them was the sender's accidentally horrible timing.

  1. There is no such thing as "too much telling." A writer might bog down a story with irrelevant telling, or tell when showing would be more effective, but she can't tell "too much." There is no hard-set maximum of telling allotted per novel.
  2. I'm a meticulous writer. Every sentence I type, I choose after carefully weighing it against the many other sentences I might type instead. And then I revise, revise, revise. So it's infuriating when someone dismisses all of that careful thought with a blanket statement like, "there's too much telling."

I wrote those pages the way I did for a reason: they do what opening pages ought to do.

What Opening Pages Ought to Do

A good number of published novels start with fast-paced action right out of the gate. They begin with startling dialogue and dangerous confrontations. They drop readers head-first into adrenaline-pumping action.

Many times, in many places, I've read that the opening pages of a book need to "grab" readers and "suck them in." Writers often interpret this to mean they need to stuff page one with thrills and chills. They write prologues showing the last terrifying moments of a victim's life, or a grisly crime from the perspective of the unhinged serial killer. Or they write a short teaser of the life-threatening climax of the novel, and then they fly back in time to start the story properly at the beginning.

This approach can suck readers in, but it can also push them away. "Bait and switch" openings can come across as cheap and manipulative. Readers get invested in the characters on page one, only to see them bite the bullet on page three. Then they have to start over and get to know the real protagonists.

Most importantly, dropping readers in the middle of Crazy Town with no context is disorienting. When I read the first pages of these fast-paced novels, I don't know who these people are, or what's going on, or what the heck these stories are supposed to be about.

The opening pages of a novel should answer three basic questions for a reader.

  1. Who is the hero, and will I like him?
  2. What is the setting, and will I enjoy it?
  3. Where is this story going, and will it be interesting?

Simply answering these questions satisfactorily will "grab" readers who will enjoy the story. You don't have to dangle the heroine off of a cliff on page one, you just have to give readers an accurate idea of the reading experience they're in for.

Telling Orients Readers

Below are the first 300 words, thereabouts, of the manuscript for Whacked in the Stacks. Arr, there be telling ahead!

I'm not a superstitious person, but the morning of Friday, March 13 nearly turned me into one.

First I ruined my best skirt. That was my fault. I should know better than to read emails on my phone and eat strawberries & cream oatmeal at the same time.

Then my cat, Mr. Rochester, coughed up a hairball on my favorite Mary Janes. That was also my fault. I should know better than to leave my things on the floor, where Mr. Rochester can and will destroy them.

After I changed my skirt, scrubbed my shoes, and jogged through the freezing rain to my car, the engine wouldn't start. That wasn't my fault. I'd taken Cindy the Civic to a service center the weekend before, and the mechanic had said there was nothing wrong with her. Cindy disagreed. She grumbled and screeched when I turned the key. I petted her dashboard and gave her compliments until she started up begrudgingly.

I checked the clock compulsively on my way to work. With every minute that passed, my blood pressure rose. It was the worst possible day of the month to run late.

At 8:47 I turned onto Duvall Street, the main thoroughfare for Downtown Sea Breeze. At 8:49 I passed the Rocket Burger, where a five-foot plastic astronaut named Buzz All-Beef saluted me with one hand and held up a giant double cheeseburger with the other. At 8:51 I reached Fields Park, a.k.a. "The Fields." The magnolia trees stood with buds at the ready, itching for the go-ahead from the sun to burst into bloom. As I imagined the lighter skies and pink flowers soon to come, my blood pressure lowered a bit. If nothing else went wrong, I'd arrive at the library a few minutes before nine.

Of course something else did go wrong. Very, very wrong.

Looking at the list of questions opening pages ought to answer, I hope it's obvious why I wrote mine this way.

First, I aimed to give the reader a general picture of my heroine in the short space of one page. She's humble and readily admits her faults, she's modern in her habits yet conservative in her dress, and she responds to problems with patience, not tantrums. Also, she's highly educated and bookish, as one must be to name a cat after a classic literary character.

Second, I aimed to root the reader in the setting of the stormy Oregon coast. The freezing rain, the quirky seaside resort town, the hint of spring in the air.

Third, I aimed to signal to readers that the upcoming pages hold conflict aplenty. My very first sentence announces that many things are about to go wrong. Not only is my heroine about to meet disaster head-on, but more disasters await her when she arrives to work late.

Now, here's how I might have written the opening pages if I believed showing to be universally better than telling.

The oatmeal fell from my spoon in slow motion, pink and shimmering in the fluorescent light of my kitchen. Plop! The warm glob of strawberries & cream landed right in the lap of my best navy pencil skirt. Dry-clean only, of course.

"Nooo," I moaned. "Not today!"

I put my phone down on the table and grabbed a napkin to wipe off the oatmeal. It was my fault, I knew. I should know better than to read emails and eat breakfast at the same time.

As I was scooping up the last oat flake, I heard a suspicious hacking noise behind me. My heart sank even lower.

I turned just in time to witness my cat, Mr. Rochester, cough up a hairball on my favorite Mary Janes. I swallowed my irritation. This was also my fault. I should know better than to leave my things on the floor, where Mr. Rochester can and will destroy them.

I sighed and rose from the table. I grabbed my Mary Janes and headed to my bedroom. I scrubbed my shoes in the bathroom sink and dug through my dresser for a clean skirt.

Ten minutes later, I jogged through the freezing rain to my car. I rubbed my hands together to warm them and slipped the key into the ignition.

The engine wouldn't start.

I dropped my head onto the steering wheel. Why today, of all days? I'd taken Cindy the Civic to a service center just the weekend before, and the mechanic had said there was nothing wrong with her. Cindy clearly disagreed.

Taking deep, calming breaths, I tried again. Cindy grumbled and screeched when I turned the key. I tried again, and again, petting Cindy's dashboard and giving her compliments until she started up begrudgingly.

I checked the clock compulsively on my way to work. With every minute that passed, my blood pressure rose. It was the worst possible day of the month to run late.

This isn't a bad opening, but it doesn't do what the real one does.

First, I cover much less in these 300 words than I did in the first 300 words of my manuscript, because "showing" takes up a lot of space. I don't even get to the setting. This could be any woman in any city in an English-speaking country. Readers won't know where they are, and they won't see anything that might entice them to stick around.

Second, this passage gives readers no reason to care about the heroine, and the story doesn't seem to go anywhere. So she had a bad morning and she's running late for work. So what? Why should anyone be interested in a glob of oatmeal falling from a spoon, or a cat hacking up a hairball? As I wrote in "Show, but Sometimes Tell," the purpose of showing is to get readers emotionally invested in a scene. Only the most melodramatic of fashionistas would be emotionally invested in an oatmeal-stained pencil skirt.

Third, and most important to my mind, the humorous voice of the heroine is now buried under all of the showing. She seems to take herself and her apparel much too seriously. Imagine if The Wonder Years had no witty voice-overs, and it was simply a drama about a cute kid growing up in the 70s. The tone of the show would be completely different, right? Similarly, the way Rainie tells the story says as much about her as what she does and how she feels.

It is possible to orient readers through showing, but telling conveys much more, much faster.

Telling Respects Readers' Time

When I read some of these fast-paced novels, I get irked by the authors. They seem to purposely withhold crucial information, forcing me to dig through their words for clues about the characters and the events taking place. Here's the first page of one random title on Amazon.

Every Southern belle knows it's not so much what you do, but rather what you're wearing while doing it. And when in doubt, always apply more lipstick.

Good thing Sandy had never been mistaken for a belle, because there was no shade of lipstick in the South that matched grand theft auto charges while wearing ducky galoshes.

"Either get on or get out of the way," Sandy said to the stubborn male standing between her and freedom.

Diablo had mammoth thighs, a trunk for a neck, and as Mr. Ferguson's contracted stud bull, horns that could tear through a steel wall. And right now those horns were pointed at Sandy.

But she wasn't about to let some misinformed male with caveman tendencies and bad breath stop her from doing what was right. Even when doing what was right sucked. Even when it accompanied a brutal summer storm, interrupted the only solid sleep she had gotten in weeks, and landed her smack dab in the middle of trouble.

Even then. Because Sandy could live with trouble. But regret was something she never wanted to feel again.

So who exactly is this woman, and what's going on? Your guess is as good as mine. All I know is that the heroine lives in the South and her situation involves grand theft auto charges, ducky galoshes, a bull, a thunderstorm, and sleepless nights.

Not only does the page not tell me what's going on, beyond vague hints of "trouble" and "regret," but it plays with readers' heads. When someone writes the word "male," a reader images a human male. I formed a picture of the scene in my mind based on what the author told me was happening. Then she tore the picture up and made me rebuild it from scratch, mid-sentence, by revealing that the "stubborn male" is a completely different species. I was left disoriented and very annoyed.

This author must have been under the impression that if you confuse readers, they'll be intrigued and feel compelled to keep turning pages to figure out what she's trying to say. I know from personal experience that readers have the exact opposite reaction to muddy writing. If they can't tell where and when they are, and who exactly they're reading about, they get angry and put the book down.

In my early novels and short stories, I tried to be fancy. I tried to show everything in creative ways instead of telling people point blank what was happening. The comments in the margins from critique partners frequently looked like this.

  • "I was confused about who said this line."
  • "I can't really tell what just happened."
  • "Wait...how much time has passed since the last chapter? Where are we?"

And then they would stop critiquing after chapter three and never contact me again, because I had committed the unpardonable offense of wasting their time.

Being fancy forces readers to put time and energy into interpreting scenes. This is a good thing for creating emotional investment, but a very bad thing for conveying simple concepts. There's no point in making readers work hard to determine...

  • Who is acting or speaking
  • What the actors are doing
  • When and where the scene takes place

In other words, you shouldn't show readers what's going on. You tell readers what's going on, and what's going on shows them more complex ideas.

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Fri, 14 Apr 2017 07:13:23 +0000blog.tkmarnell.com