February 4, 2022 · 6:00 am

#FineArtFriday: Saint Cecilia (revisited) by Edward Burne-Jones

Saint Cecilia, by Edward Burne-Jones

Date: circa 1900

Medium: Stained and painted glass

Dimensions: Height: 213.5 cm (84 in); Width: 75.5 cm (29.7 in) frame: Height: 235 cm (92.5 in); Width: 88.7 cm (34.9 in); Depth: 4 cm (1.5 in)

Collection: Princeton University Art Museum

About this image:

Today we are revisiting an image of a masterpiece in glass: Saint Cecilia, by Edward Burne-Jones. She is the patroness of musicians, and her feast day is traditionally celebrated on November 22. The above image is my favorite rendering of her, as it is so vividly colored.

One of the most beautiful forms of art is stained glass, and the many works of Sir Edward Burne-Jones are without peer.

I may have said before that I’m not a fan of some of the art produced by the Pre-Raphaelite Brotherhood. I understand the heroic and dramatic stories they attempted to tell. Unfortunately, the more hyper-romanticized, physically impossible contortions in which they sometimes posed their heroes and heroines don’t engage my imagination in a good way.

Burne-Jones, however, ranks high on my list of favorite artists because (in my untutored opinion) his best medium was stained glass. The concept and execution of Burne-Jones’s artistic visions in glass are stunning. Vivid, intense colors, romantic subjects – his windows are glorious and seem illuminated even when not backlit by the sun.

About Saint Cecilia, From Wikimedia Commons:

One of nearly thirty versions of a window designed by Burne-Jones and executed by the company founded by William Morris (1834–1896), Saint Cecilia is a product of the Arts and Crafts movement they initiated. Friends at Oxford, Morris and Burne-Jones became disciples of John Ruskin and the Pre-Raphaelite movement and put into practice his vision for the renewal of art. They sought to counter the effects of the machine age by reviving medieval crafts, abolishing distinctions between fine and decorative arts, and beautifying objects of everyday life. Morris wrote on the philosophy of art and founded a company to execute textiles, wallpaper, and other objects, while Burne-Jones, in addition to painting and sculpting, studied with the Pre-Raphaelite painter Dante Gabriel Rossetti and designed murals, tapestries, and stained glass for Morris’s company.

The Gothic Revival style in architecture created a market for stained glass, especially in the 1870s, when Burne-Jones was a particularly prolific designer of windows. The first Saint Cecilia window, at Christ Church, Oxford (1875), shows the influence of the early Renaissance art he had seen in central Italy, most recently in 1871. The flat, abstracted, linear style and the wilting pose of the impossibly tall, graceful woman make reference to the work of Botticelli (Florentine, ca. 1445–1510), while the tapestry-like screen of pomegranate trees and fruits and the richly patterned brocade fabric recall the latest Gothic phase of Italian art, about 1400.

Saint Cecilia, an early Christian Roman virgin martyr, became the patron saint of music and was portrayed with an organ — here, a portable organ of the fifteenth century. Although water organs existed in the ancient world, pipe organs date from the fourteenth century, so we must assume Cecilia is singing the praises of God in heaven, not during her earthly life. In the window at Christ Church, she is flanked by lancet windows with music-making angels; scenes from the life of a fellow martyr saint, Valerian, and her own martyrdom are shown below. In Chicago, a Saint Cecilia window was included in the stained glass of the Second Presbyterian Church (1904); there, the fabric behind the saint is blue, and the tree bears lemons, demonstrating the permutations that could occur among these windows.

About the artist, from Wikipedia:

Sir Edward Coley Burne-Jones, 1st Baronet ARA (28 August 1833 – 17 June 1898) was an English artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner & Co. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain.

Credits and Attributions:

Saint Cecilia, Edward Burne-Jones [Public domain], Stained and painted glasss, ca. 1900

Wikipedia contributors, “Edward Burne-Jones,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Edward_Burne-Jones&oldid=868174553 (accessed November 16, 2018).

Wikimedia Commons contributors, “File:Burne-Jones, Sir Edward, Saint Cecilia, ca. 1900.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Burne-Jones,_Sir_Edward,_Saint_Cecilia,_ca._1900.jpg&oldid=303427881 (accessed November 16, 2018).

2 Comments

Filed under #FineArtFriday, writing

Tagged as , , , , ,

February 2, 2022 · 6:00 am

Agency and Consequences #amwriting

In my previous post, Agency and Character Development, I briefly mentioned the importance of consequences. It is a word with many uses and connotations.

WritingCraftSeriesAgencyLIRF01302022Let’s look at both the meanings and synonyms for the word consequences.

Consequence (noun)

[kon-seh-kwens]

consequences (plural noun)

[1] The result or effect of an action or condition.

“Many programmers were laid off from work as a consequence of the failing economy.”

Synonyms:

Result, upshot, outcome, sequel, effect, reaction, repercussion, reverberations, ramification, end, end result, conclusion, termination, culmination.

[2] Importance or relevance.

“That’s of no consequence.”

Synonyms:

Importance, import, significance, account, moment, momentousness, substance, note, mark, prominence, value, weightiness, weight, concern, interest, gravity, seriousness.

[3] Social distinction. (Slightly dated usage. Its synonyms are more commonly used.)

“Adelaide Brown was a woman of consequence.”

Synonyms:

Fame, distinction, eminence, preeminence, prominence, repute, reputation, prestige, acclaim, celebrity, note, notability, mark, standing, stature, account, glory, illustriousness.

For today’s post, let’s consider agency and the importance of choice. How will the results of their decisions affect our characters’ lives? After all, a story isn’t interesting without a few self-inflicted complications.

Once again, we will go to J.R.R. Tolkien and look at Bilbo’s choices and his path to becoming the eccentric eleventy-one-year-old hobbit who vanishes (literally), leaving everything, including the One Ring, to Frodo.

ConsequencesLIRF07122020In the morning, after the unexpected (and unwanted) guests leave, he has two choices, to stay in the safety of Bag End, or hare off on a journey into the unknown. He chooses to run after the dwarves, and so begins the real story—how a respectable hobbit became a burglar and became a hero in the process.

The consequences of his decision will shape his entire life afterward. Where he was once a staid country squire, having inherited a comfortable income and existence, he is now expected to steal an important treasure from a dragon. At the outset, that particular job doesn’t seem real. He is beset by problems, one of which is his general unfitness for the task. He’s always been well-fed, never had to exert himself much, and suddenly, his opinions carry no weight.

Bilbo’s hidden sense of adventure emerges early when the company encounters a group of trolls. He is supposed to be a thief, so he is sent to investigate a strange fire in a forest. Reluctantly, he agrees. Upon reaching the blaze, he observes that it is a cookfire for a group of trolls.

Bilbo has reached a fork in the path of life. He must make a choice: the smart thing would be to turn around at that point and warn the dwarves. However, his ego feels the need to do something to prove his worth. “He was very much alarmed as well as disgusted; he wished himself a hundred miles away—yet somehow he could not go straight back to Thorin and Company empty-handed.” [1] Bilbo feels the need to impress the Dwarves and makes decisions he comes to regret.

In the process of nearly getting everyone eaten and having to be rescued by Gandalf, he discovers several historically important weapons. One of them is Sting, a blade that fits Bilbo perfectly as a sword.

At first, Sting has no name, a long knife that the hobbit Bilbo Baggins discovers in the cave of trolls. Gandalf and the dwarf Thorin also find their respective swords, Glamdring and Orcrist.

Although it is only a dagger, its length corresponds to a short sword for a creature the size of the hobbit. It turns out that, like the swords of Gandalf and Thorin, this dagger was forged by the elves of Gondolin in the First Age and possesses a magical property—it shines with a blue glow when orcs are close.

the hobbitThe blade does not acquire its name until later in the adventure, after Bilbo, lost in the forest of Mirkwood, uses it to kill a giant spider and rescue the Dwarves. This is when Bilbo’s decisions become more thoughtful, and his courageous side begins to emerge.

Decisions and consequences shape Bilbo’s character and force his growth. His experiences and bad choices along the way have consequences that shape how he thinks. As the Dwarves continue to get into trouble, he makes plans for their rescue and considers what may or may not go wrong before implementing them. He doesn’t know it, but he thinks like a warrior instead of a staid country squire.

Consequences force the character arc. Sometimes the decisions our characters make as we are writing them surprise us. But if those decisions make the story too easy, they should be discarded.

We, as their creator, must take over, cut or rewrite those scenes, and force the story back on track.

Credits and Attributions:

[1] Quote from The Hobbit, or There and Back Again, by J.R.R. Tolkien, published 1937 by George Allen & Unwin, Ltd.

6 Comments

Filed under writing

Tagged as , , , , ,

January 31, 2022 · 6:00 am

Agency and Character Development #amwriting

Now that we are well into the new year, many of us are finally getting back to work on novels we began for NaNoWriMo or work we had on hold for the holidays.

WritingCraftSeriesAgencyLIRF01302022This is an excellent time to look at the freedom we give our characters to act and react within the story. I have mentioned many times that I am a plotter. However, when I am in the process of writing the first draft of a novel, the characters sometimes take over. The plot veers far from what I had intended when I began writing it.

West_End_Fair_Gilbert_PA_Demolition_DerbyThis happens because my work is character-driven, and sometimes, they’re like demolition derby drivers.

When a significant change happens, I have to adjust events to match the timeline. Adjusting my outlines is a simple process because I create them in Excel. I can delete and move events as needed to ensure my story arc doesn’t flatten.

Other people use whiteboards and sticky notes, and still others use Scrivener—a program my style of thinking doesn’t mesh with.

I tried Scrivener but grew too frustrated, so I returned to my good old Excel spreadsheet program. Google Sheets works well too, and it’s free.

Usually, the ultimate ending never changes no matter what the characters do. However, the path to that place can go quite far afield from what was initially intended.

I try to keep the plot moving so that it flows naturally. The characters must still act and speak individually, the way that I envision them. I want their uniqueness to remain central to the story, even if their motives and actions evolve from what I first planned.

PinocchioThis is called giving your characters “agency.” Agency is an integral aspect of the craft of writing. It means that you allow your characters to make decisions that don’t necessarily follow the original plot outline. This gives them a chance to become real, the way Pinocchio wanted to be a real boy and not a puppet.

Many times, the way to avoid predictability in a plot is to introduce a sense of danger early, a response to an unavoidable, looming threat. Every character has a different personality and should respond to each event differently. The freedom you allow the protagonist and antagonist to steer the events is crucial for them to emerge as real to the reader.

In literary terms, “agency” is the ability of a character to surprise the author, and therefore, the reader. If you plan their every response when you are writing them, it can feel canned and boring. The most exciting moments I’ve had as an author are when my characters surprise me and take over the story.

Sometimes my characters make their own choices. Other times, they go along as I, their creator, have planned for them. Ultimately, they do what I intend for them, but they always do it their own way and with their own style.

Plotting, for me, means setting out an arc of events for a story that I hope to write. I do this in list form in a new Excel workbook. My outline workbook will contain several spreadsheets. On page one, I create the characters and give them personality traits. On page two, I list the order of events that I think will form the arc of the story.

When my characters begin evolving, new events are added. My plot outline must continually evolve with them so that I don’t lose control of the arc and go off on a side quest to nowhere. The evolution of the outline happens once I begin writing because that is when I get to really know my characters. Only when the writing commences can they make choices and say things that surprise me.

That is when they have agency.

When I first consider writing a new novel, I get the idea out of my head by creating a plot outline. For me, introducing the threat and warning signs of inescapable danger early in the story arc limits my habit of writing too much backstory. Their history can happen off-screen, in a file marked Backstory. That way, I get to know my characters, but no one is going about “life as normal” in the narrative. Readers aren’t looking for ordinary—they have enough of that in real life.

Each character will be left with several consequential choices to make in every situation that arises along the timeline. I consider the personality and allow the characters’ reactions to fit who they are.

Author-thoughtsNo matter how they respond, they will be placed in situations where they have no choice but to go forward. After all, I am their creator, the deity of their universe. I have an outline that predestines them to specific fates, and nothing they can do will stop that train.

The consequences my characters face for their choices affect the atmosphere and mood of the story as it emerges. Think about it—if there are no consequences for bad decisions a character might make, everyone goes home unscathed. So why bother writing at all?

So, while I am an outliner and plotter, I also fly-by-the-seat-of-my-pants to a certain extent. I love it when my characters take over and drive the story.

Credits and Attributions:

Lowenburg at the English Wikipedia, CC BY-SA 3.0 <http://creativecommons.org/licenses/by-sa/3.0/&gt;, via Wikimedia Commons

Pinocchio by Enrico Mazzanti (1852-1910), Public domain, via Wikimedia Commons

12 Comments

Filed under writing

Tagged as , , , ,

January 28, 2022 · 6:00 am

#FineArtFriday: The Great Fish Market by Jan Brueghel the Elder 1603 (revisited)

Title: Great Fish Market

Artist: Jan Brueghel the Elder  (1568–1625)

Date: 1603

Medium: oil on canvas

Dimensions:  Height: 59 cm (23.2 in); Width: 92 cm (36.2 in)

Collection: Alte Pinakothek  Current location: room 19

Inscriptions: Signature and date, bottom left: BRVEGHEL 1603

What I love about this painting:

This is one of my all-time favorite paintings. Here we see a composite of all the places Jan Brueghel the Elder had visited. The scene is a fusion of his Flemish homeland and impressions of places he’d sketched on his travels.

In the middle of the picture is the Neapolitan Castel dell’ Ovo, on the right, in the distance, is St. Peter’s Basilica in Rome. We have a little of Italy thrown in with the Flemish, his effort to create the feeling of a busy, prosperous market. He shows his imaginary city from a high perspective, the god-like view.

In writing, this would be the omniscient point of view.

The elements presented in this painting, the harborscape, the ruins, and even the sections that are simply landscapes are all features that later became genres in their own right.

The scene contains many elements of Mannerist landscape painting. According to the Tate website, mannerist is a sixteenth-century style of art and design characterized by artificiality, elegance, and an aesthetic portrayal of the human figure.

In other words, they painted fantasy. And why not?

Flemish genre painting is strongly tied to the traditions of Pieter Bruegel the Elder. It was a style that continued directly into the 17th century through copies and new compositions made by his sons Pieter Brueghel the Younger and Jan Brueghel the Elder.

In this painting, the story opens with a view across a downward-sloping foreground. It teems with life, hundreds of figures of many races, grouped around the stalls and booths of a fish market. The group at the center of the foreground is thought to be a self-portrait of the artist and his family. It was common for artists to insert self-portraits in their works, and Jan often included his family.

One of Jan Brueghel’s most significant contributions to the craft of painting landscapes was how he depicted perspective. The eye is drawn towards the harbor in the background. We look out across the bay, along the coastline, and see entire towns, with ruins, wharves, and castles. Beyond that, we see distant mountains, painted with a blue that merges with the blue of the sea.

This blending of shape and color into the distance is how a landscape appears in real life.

These painters, and the Brueghel family in particular, were the generation who paved the way for artists like Rembrandt. Their works were the foundation upon which the masterpieces of the middle-to-late 17th century were built.

About the Artist, via Wikipedia:

Jan Brueghel was the son of the eminent Flemish Renaissance painter Pieter Brueghel the Elder.  A close friend and frequent collaborator with Peter Paul Rubens, the two artists were the leading Flemish painters in the first three decades of the 17th century.

He was born in Brussels as the son of Pieter Brueghel the Elder and Maria Coecke van Aelst. His mother was the daughter of the prominent Flemish Renaissance artists Pieter Coecke van Aelst and Mayken Verhulst. His father died about a year after Jan’s birth in 1569. It is believed that after the death of his mother in 1578, Jan, together with his brother Pieter Brueghel the Younger and sister Marie, went to live with their grandmother Mayken Verhulst, who was by then widowed. Mayken Verhulst was an artist in her own right. The early Flemish biographer Karel van Mander wrote in his Schilder-boeck published in 1604 that Mayken was the first art teacher of her two grandsons. She taught them drawing and watercolor painting of miniatures. Jan and his brother may also have trained with local artists in Brussels who were active as tapestry designers.

Jan Brueghel the Elder is regarded as an important innovator of landscape art. By introducing greater naturalism in his Alpine mountain settings, his father had expanded on the world landscape tradition that had been founded mainly by Joachim Patinir. Some of Pieter the Elder’s works also foreshadowed the forest landscape that would start to dominate landscape painting around the turn of the 16th century. Pieter the Elder also developed the village and rural landscape, placing Flemish hamlets and farms in exotic prospects of mountains and river valleys.

Jan developed on the formula he learned from his father of arranging country figures traveling a road, which recedes into the distance. He emphasized the recession into space by carefully diminishing the scale of figures in the foreground, middle-ground, and far distance. To further the sense of atmospheric perspective, he used varying tones of brown, green, and blue progressively to characterize the recession of space. His landscapes with their vast depth are balanced through his attention to the peasant figures and their humble activities in the foreground.

Like his father, Jan Brueghel also painted various village landscapes. He used the surrounding landscapes as the stage for the crowds of anecdotal, colorfully dressed peasants who engage in various activities in the market, the country roads and during the rowdy kermesses. Jan Brueghel’s landscape paintings with their strong narrative elements and attention to detail had a significant influence on Flemish and Dutch landscape artists in the second decade of the 17th century. His river views were certainly known to painters working in Haarlem, including Esaias van de Velde and Willem Buytewech, whom Brueghel may have met there when he accompanied Peter Paul Rubens on a diplomatic mission to the Dutch Republic in 1613.

Jan Brueghel was, along with artists such as Gillis van Coninxloo one of the prime developers of the dense forest landscape in the 17th century. Jan Breughel in fact experimented with such works before Coninxloo’s first dated wooded landscape of 1598. In his forest landscapes Brueghel depicted heavily wooded glades in which he captured the verdant density, and even mystery, of the forest. Although on occasion inhabited by humans and animals, these forest scenes contain dark recesses, virtually no open sky and no outlet for the eye to penetrate beyond the thick trees.

Credits and Attributions:

Wikimedia Commons contributors, “File:Jan Brueghel the Elder-Great Fish market.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Jan_Brueghel_the_Elder-Great_Fish_market.jpg&oldid=406069557 (accessed July 9, 2020).

Wikipedia contributors, “Jan Brueghel the Elder,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Jan_Brueghel_the_Elder&oldid=963723468 (accessed July 9, 2020).

Comments Off on #FineArtFriday: The Great Fish Market by Jan Brueghel the Elder 1603 (revisited)

Filed under #FineArtFriday

Tagged as , , , , ,

January 26, 2022 · 6:00 am

Codewords and Mental Shorthand #amwriting

Many of us are in the revision process, working on the novels we wrote during November’s NaNoWriMo. These novels are disjointed and uneven, but they contain the essence of what can be a great book—with a lot of work.

depthPart1revisionsLIRF05252021On November 1st, when we began setting the first words on the blank page, our minds formed images, scenes we attempted to describe. In his book, The Language Instinct, Steven Pinker notes that we are not born with language, so we are NOT engineered to think in words alone. We also think in images.

For each author, certain words become a kind of mental shorthand, code words used with frequency in the first draft because they are efficient. Code words are small packets of letters that contain a world of images and meaning for us. These words help us get the story down more quickly when we are in the grip of creativity. Code words are a speedy way to convey a wide range of information.

Because we use them, we can get the first draft of a story written from beginning to end before we lose the fire for it.

I have mentioned before that one codeword I sometimes find in my first draft prose is the word “got.” It’s a word that my family used and is ingrained in my subconsciousness as a tool word.

It is a tool word because it serves numerous purposes and conveys many images with only three letters. “Got” is on my global search list of codewords. The words in the list are signals to me, indications that a scene needs to be reworded to express my true intent.

Got can signify understanding or comprehension, as in “she got it.” Some other instances where I might use “got” as a code word for my second draft:

  • He got the dog into the car. (put, placed)
  • He got the mail. (acquired)
  • He got (became) In an instance like this, an entire scene must be written, one I didn’t take the time to write during the rush of NaNoWriMo.

Codewords are the author’s multi-tool—a compact tool that combines several individual functions in a single unit. One little word, one small packet of letters serves many purposes and conveys a myriad of mental images.

Every author thinks differently, so your codewords will be different from mine. One way to find your secret codewords is to have the Read Aloud tool read each section. I find most of my inadvertent crutch words that way. When you hear them read aloud, they really stand out.

ozford-american-writers-thesaurusOnce you find them, you need to go to the thesaurus to find alternatives that better express your intent.

A first draft codeword high up my personal list is “felt.” Let’s go to Merriam-Webster’s Online Thesaurus:

  • Synonyms:
    • endured
    • experienced
    • knew
    • saw
    • suffered
    • tasted
    • underwent,
    • witnessed
  • Words Related to felt:
    • regarded
    • viewed
    • accepted
    • depended
    • trusted
    • assumed
    • presumed
    • presupposed
    • surmised

We all overuse certain words without realizing it. That is where revisions come in and is where writing takes effort. You’ll discover that some words have very few synonyms that work.

When you discover one of your first draft codewords, go to the thesaurus, find all the synonyms you can, and list them in a document for easy access. If it is a word like smile or shrug, you have your work cut out, but consider making a small list of visuals.

Consider the word “smile.” It’s a common code word, a five-letter packet of visualization. We can use it to show happiness, but also it can suggest so many other moods and unspoken emotions.

Synonyms for the word smile are few and usually don’t show what I mean. When I find that word, it sometimes requires a complete revisualization of the scene. What am I really trying to convey with the word smile? I look for a different way to express my intention, which can be frustrating.

Facial expressions are only one of the many ways to display happiness, anger, spite, and other emotions. We shouldn’t rely only on a character’s face to show their moods.

Yes, their eyebrows raise or draw together, foreheads crease, and eyes sometimes twinkle. However, posture conveys a great deal. Shoulders sometimes slump, and hands often tremble. Sometimes characters refuse to look at the person they are speaking with.

Sometimes the brief image of a smile is the best expression to convey your intention.

Nothing is more off-putting than reading a story where a person’s facial expressions take center stage. As a reader, I’m more concerned with what is happening inside the characters than about the melodramatic outward display.

Think about the body language an onlooker would see if a character were angry.

  • Crossed arms.
  • A stiff posture.
  • Narrowed eyes.

A little list of those mood indicators can keep you from losing your momentum and will readily give you the words you need to show all the vivid imagery you see in your mind.

emotion-thesaurus-et-alIf you don’t have it already, a book you might want to invest in is The Emotion Thesaurus by Angela Ackerman and Becca Puglisi. Some of the visuals they list aren’t my cup of tea, but they know how to show what people are thinking.

The revision process is sometimes the most challenging aspect of writing because we are also looking at scene composition and framing (which was covered in my previous post). It takes time to revisualize each scene when we are also looking for codewords and rewriting entire paragraphs.

But codewords don’t always need changing—sometimes, a smile is a smile, and that is okay.

8 Comments

Filed under writing

Tagged as , , , ,

January 24, 2022 · 6:00 am

Composition and Scene Framing #amwriting

Composition is defined as the way the elements inside a frame are exhibited to the viewer – the layout of a picture. In the second draft of a novel or story, you must consider what to show and how to arrange the visuals to achieve the best effect. The environment (world) against which the events and actions are shown is the frame that enhances the scene.

scene framingEach chapter is comprised of one or more scenes. These scenes have an arc to them: action and reaction. These arcs of action and reaction begin at point A and end at point B. Each launching point will land on a slightly higher point of the story arc.

Each scene occurs within the framework of the environment, which must be shaped to emphasize the emotion of the narrative. This is called scene framing.

Our written narrative is the camera through which the scene is viewed.

We want the characters’ interactions to convey the most emotional impact. Also, we want to keep the wordiness to a minimum. We supplement our descriptions by using the environment to highlight the characters’ moods and darken or lighten the atmosphere.

When you target the focus of the scenery to frame the action, you draw attention to the subtext you want to convey, beneath and around the ruminations and conversations.

Today’s example is taken from Anne McCaffrey’s 1988 novel, Dragonsdawn. The Dragonriders of Pern series is recognized as science fiction because of its knowledge of the nature of the star Rukbat and its planetary system. Many elements in the earlier books are primarily fantasy in origin as they deal with dragons and telepathy.

However, the early novels also detail the gradual rediscovery of lost technology, the revelation of their forgotten history. Dragonsdawn reinforces the science fiction nature of the series by explaining the science behind McCaffrey’s dragons and why they were genetically engineered to be what they are.

The story follows several POV characters, giving us a comprehensive view of the colony’s successes and failures. For the first ten years, the planet Pern seems a paradise to its new colonists, who are seeking to return to a less technologically centered, agrarian-based way of life. They believe Pern is the place where they can leave their recent wars and troubles behind.

A decade after arriving on the planet, however, a new threat appears. It is a deadly, unstoppable spore that periodically rains from the skies in the form of a silvery Thread that mindlessly devours every carbon-based thing it touches.

TDragonsdawn_coverhe scenes we are looking at today have two distinct environments to frame them: first the planet and then the abandoned colony ship, Yokohama. These scenes are filled with emotion, high stakes, and rising dread for the sure and inevitable tragedy that we hope will be averted. Not all the drama is in Sallah Telgar’s direct interaction with Avril Bitra. The environment heightens the drama, the sense of impending doom.

Before the advent of Thread, Avril disappeared, gathering resources and intending to leave the planet with as much treasure as she can carry. She has been pretty much forgotten by the others but has an agenda and refuses to be thwarted.

In the first scene of this chapter, we see Sallah on her way to work, leaving her children at the daycare. We zoom out and see Kenjo, the pilot, putting the last of the precious fuel into the only working shuttle, the Mariposa. This shuttle has been refitted for one last science expedition: to discover the source of the Deadly threads that rain down upon the planet periodically and to retrieve a sample. If this mission fails, there will be no other.

The camera moves out, and we see Sallah as she observes a woman she recognizes as Avril Bitra slipping through the abandoned shuttles on the landing grid. The view widens again as we see Avril following the pilot, Kenjo, who vanishes. We then see her entering the Mariposa alone.

Sallah makes a spur-of-the-moment decision to follow her, to see what Avril is up to.

Here is where the sparse visual mentions of the environment become crucial as they emphasize the stark reality of Sallah’s situation. Sallah enters the shuttle just as the airlock door closes, catching and crushing her heel. She manages to pull it out so that she isn’t trapped, but she is severely injured. Later, the dark, abandoned interior of the Yokohama reinforces Sallah’s gut-wrenching realization that her five children will grow up without a mother.

Subtext is the hidden story, the hints and allegations, the secret reasoning. It’s the images we see of the environment and how it affects the atmosphere. Subtext is the content that supports the dialogue and gives purpose to the personal events.

Scene framing is the way we stage the people and visual objects. What furnishings, sounds, and odors are the visual necessities for that scene?

Whatever you mention of the environment focuses the reader’s attention when the characters enter the frame and affects the reader’s interpretation of a scene. In this chapter of Dragonsdawn, we see the junk and scrap on the grid and the decaying shuttles. Two shuttles have been dismantled and parted out and used to keep the few cargo sleds they have converted to Thread-fighting gunships in working order. One shuttle remains in usable condition.

Sensory details are important, showing how the environment affects or is affected by the characters. Conversely, not mentioning the scenery during a conversation brings the camera in for a closeup, focusing solely on the speaker or thinker.

A balance must be struck in how your characters are framed in each scene. We flow from wide-angle, seeing Salla floating in freefall, blood pooling in her boot. The camera moves in to closer up, showing Avril’s rage at the fact that she can’t control the course of the Mariposa, which is programmed to dock at the Yokohama.

Plot-exists-to-reveal-characterWe see Avril taunting Sallah for her matronly body and move out again to see Avril tying a cord to Sallah’s crushed foot and forcing her to make the navigational calculations for Avril’s escape. We move close up and hear the interaction, Sallah pretending to do as Avril asks but really setting her enemy’s doom in action. The camera moves to the wide view again, and we hear the interaction with her frantic husband on the ground. We are caught up in her determination to seize this only chance, using her dying breaths to get the information about the thread spores to the scientists on the ground.

Atmospheric Mood: Ask yourself why you have placed those things in that scene. Why are they important, and what are you conveying to the reader with that visual composition? What subliminal elements does the environment contain that clue the reader into the deeper emotions in that scene? What subtext will carry over from this scene to the next?

Scene framing is the way you compose the scene. How you use the setting to place your characters supports and reinforces the subtext of the conversations and events and is what makes a scene feel powerful.

6 Comments

Filed under writing

Tagged as , , , , ,

January 21, 2022 · 6:00 am

#FineArtFriday: Fishermen at Sea by J. M. W. Turner 1796

Joseph_Mallord_William_Turner_-_Fishermen_at_Sea_-_Google_Art_ProjectArtist: J. M. W. Turner (1775–1851)

Title: Fishermen at Sea

Genre: marine art

Depicted place: The Needles, off the Isle of Wight

Date: 1796

Medium: oil on canvas

Dimensions: Height: 914 mm (35.98 in); Width: 1,222 mm (48.11 in)

What I love about this painting:

I love seascapes, in all their many forms. This particular painting is dark in many ways beyond the obvious. It is a night scene, and it tells us a story of the dangers that fishermen face. Fish don’t care about the weather and some fish can only be caught at night.

If you must go out in the stormy dark, sometimes the catch is death.

We see an event unfolding by moonlight, observed by three seagulls sailing on the wind. Two boats, one a small vessel and the other a larger boat, tossing upon the rough sea, both with their sails furled. This tells us they fear being driven onto the rocks known as the Needles.

A line has been cast toward the larger boat, but no one is tending it. Nearly all the art scholars say it is a fishing line, but it seems rather stout for a fishing line, and there is only one line in the water although two ships are braving the storm. Waves threaten to wash everything overboard on both boats.

I’m a storyteller; to my imagination this scene looks less like a fishing expedition and more like a rescue, as if the rope has been cast toward the other vessel to bring it close.

This is the beauty of great art. It inspires the imagination to think beyond the obvious, to look outside the accepted view and to find new ways of looking at things.

The warm glow of lantern in the stern of the smaller boat casts little light and is the only warmth in this scene. The moon has emerged from behind the clouds and illuminates the action.

Whether this is merely a rough night of fishing or a rescue at sea, this a powerful moment of fear and bravery.

About this painting via Wikipedia:

Fishermen at Sea, sometimes known as the Cholmeley Sea Piece, is an early oil painting by English artist J. M. W. Turner. It was exhibited at the Royal Academy in 1796 and has been owned by the Tate Gallery since 1972. The painting measures 36 by 48.125 inches (91.44 cm × 122.24 cm). It was the first painting by Turner to be exhibited at the Royal Academy. It was praised by contemporary critics and founded Turner’s reputation, as both an oil painter and a painter of maritime scenes. Art historian Andrew Wilton has commented that the image: “Is a summary of all that had been said about the sea by the artists of the 18th century.”

The painting depicts a moonlit view of fishermen on rough seas near the Needles, of the Isle of Wight. It juxtaposes the fragility of human life, represented by the small boat with its flickering lamp, and the sublime power of nature, represented by the dark clouded sky, the wide sea, and the threatening rocks in the background. The cold light of the Moon at night contrasts with the warmer glow of the fishermen’s lantern. [1]

About the Artist, via Wikipedia:

Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851), known in his time as William Turner,[a] was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colourisations, imaginative landscapes and turbulent, often violent marine paintings. He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He was championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.

Turner was born in Maiden Lane, Covent Garden, London, to a modest lower-middle-class family. He lived in London all his life, retaining his Cockney accent and assiduously avoiding the trappings of success and fame. A child prodigy, Turner studied at the Royal Academy of Arts from 1789, enrolling when he was 14, and exhibited his first work there at 15. During this period, he also served as an architectural draftsman. He earned a steady income from commissions and sales, which due to his troubled, contrary nature, were often begrudgingly accepted. He opened his own gallery in 1804 and became professor of perspective at the academy in 1807, where he lectured until 1828. He travelled to Europe from 1802, typically returning with voluminous sketchbooks.

Intensely private, eccentric and reclusive, Turner was a controversial figure throughout his career. He did not marry, but fathered two daughters, Eveline (1801–1874) and Georgiana (1811–1843), by his housekeeper Sarah Danby. He became more pessimistic and morose as he got older, especially after the death of his father, after which his outlook deteriorated, his gallery fell into disrepair and neglect, and his art intensified. In 1841, Turner rowed a boat into the Thames so he could not be counted as present at any property in that year’s census. He lived in squalor and poor health from 1845, and died in London in 1851 aged 76. Turner is buried in Saint Paul’s Cathedral, London. [2]

Credits and Attributions:

Fishermen at Sea, J. M. W. Turner, Public domain, via Wikimedia Commons

[1] Wikipedia contributors, “Fishermen at Sea,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Fishermen_at_Sea&oldid=1000617338 (accessed January 21, 2022).

[2] Wikipedia contributors, “J. M. W. Turner,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=J._M._W._Turner&oldid=1062349164 (accessed January 21, 2022).

2 Comments

Filed under #FineArtFriday, writing

Tagged as , , ,

January 19, 2022 · 6:00 am

The Business Side of the Business, part 2: Inventory #writerlife

The pandemic will end someday. Whether you are traditionally published or indie, if you intend to make personal appearances at local bookstores, fairs, or conventions, you will have an inventory of books on hand to manage and account for at the end of the year. This can be quite a headache if you have more than one or two books to cart around with you.

Its a BusinessBut more importantly, even if you are traditionally published, you pay for the books you sell at shows. 

The good businessperson has a spreadsheet of some sort to account for this side of the business, as it will be part of your annual business tax report. An excellent method for assembling the information you will generate for your tax report is discussed the previous post, The Business Sequence for Writers. Ellen King Rice has given us a great framework for keeping our business records straight.

There is only one more skill to have, and this is only for those who intend to sell books in person. A wise author understands that good records ensure a successful business and sets up the bookkeeping system before they go to book fairs. They have a list of the stock on hand, what books are on reorder, the day they were ordered, and how long it takes for them to ship. Also, you should keep an account of your cost for each book, both for tax purposes and insurance purposes, if the stock of books is lost or damaged in a house fire or flood.

You can do this on notebook paper with a pencil, a ruler, and a calculator. However, a green or yellow ledger book with eight to twelve columns is already set up for you to begin using.

I began working as a bookkeeper in 1982, using the industry-standard tools of the trade for the time. We noted each transaction with a red or black pencil in a green or yellow ledger book of varying sizes (2 to 32 columns). Then, we used rulers or yardsticks to ensure that we tracked a particular item on the correct line across all the columns. The handiest electronic device on my desk was the calculator with a printout tape.

The tools for this method of accounting are still available in the stationery section of any store and are quite affordable.

I use Excel for all my accounting purposes, but no matter how you create your spreadsheet, each title you have on hand to take to book fairs or shows has several costs associated with it. What follows are several screenshots of a simple way to organize a spreadsheet:

Picture1

The first column contains the heading Titles: under that heading, list each book you take to shows by the title. We will use Huw the Bard as our example book.

On the same line as the title, working to the right in column 2, write unit cost. This is the price you pay for each copy you must take to a show and varies from title to title by the length of the book and the trim size. On the same line as the book’s title, write the cost you pay KDP or Ingram Sparks or your publisher for that book: $4.69

Column 3 is the current stock-on-hand at the end of the taxing quarter: Quantity in stock: 19

Column 4 is the sum of column three times column two: Inventory value: $89.11. That is what you would have to pay to replace those books. It is also what some Departments of Revenue may tax you on at the end of the year if the value of that stock is over a certain limit, say $5,000.00. My stock on hand never exceeds that limit.

This is why retail stores have end-of-the-year sales. They need to offload their inventory to keep their taxes low.

Column 5 is the retail price. This is what the book sells for at bookstores: $12.99. You set your retail price to cover the cost of replacing the book, with some revenue to cover table and vendor fees at shows and conventions, and still allow for a small profit.

Column 6 is the special show price (if you discount your books at shows): $12.00.

Column 7 is the retail value of your stock on hand. It is the sum of column 3 times column 6: $228.00.

Did you have to collect sales tax from your customers? When you apply for your business license, you will receive a pamphlet with all the taxing jurisdictions in your licensing area and their tax rates. These range between .08 and .11 here in Thurston County. Washington State has no income tax, so all our state’s revenues come from businesses and sales taxes collected at the time of purchase. Make a note of the city or county where the books were sold, as you may be required to forward the taxes collected to the Department of Revenue. If you are smart, you will make another page with these columns:

Picture2

At the bottom of the page for both spreadsheets, total each column. That will give you the stock expenses for all your titles. There will be no scrambling at the end of the quarter for Business and Occupation taxes if you live in a state like Washington State or at the end of the year if you live elsewhere. Be smart and set the money collected as sales tax aside because it is not yours and shouldn’t be considered part of your income.

That way, you will have it at the end of the year if you only do a few shows a year like me, or quarterly if you are out there doing shows and signings every week.

The bookkeeping side of your business should take less than an hour after each show. If you have kept your spreadsheets updated, filling out annual business tax forms for your state and federal agencies will go quickly. You will have all the numbers you need to back up your reports if you are audited.

Also (and this is important), you will know the exact number of books you have on hand in each title. You will know when it’s time to reorder more stock. There is a two-to-three-week lag in printing and shipping time, so ordering books in advance is critical. You don’t want to waste money on stock you have plenty of, but you need to have a supply of your better sellers.

My personal spreadsheet is a little more detailed and is saved in the cloud as are all my business and other records. It looks like this:

Dummy_Inventory_Spreadsheet

Something we rarely consider is the random natural disaster, but we must be prepared. If something should happen to your stock of books due to theft, fire, or flood, you will be able to claim your business loss. Many authors are more prolific than I am. I have only 12 titles, including several anthologies that my work was published in. For most of us, replacing the stock of 1 to 30 titles is an expense that is difficult to carve out of the family budget unless we have sold enough to cover that cost.

Theft is rare, as people are usually quite decent at conventions and trade shows. I’ve only had one book stolen from a table at a show in all these years—a $15.00 (show cost) loss (or $6.80 my cost).

While it disturbed me on one level, I was a bit honored that someone wanted my book that badly. The experience left me confused as to how I was supposed to feel. But on the good side, it was nice to know that shoplifters are readers too!

10 Comments

Filed under writing

Tagged as , , , ,

January 17, 2022 · 6:00 am

The Business Sequence for Writers, guest post by Ellen King Rice #writerlife

Today I am featuring an excellent post by my guest, Ellen King Rice, on the business side of this business. Ellen is a successful indie author of an engrossing series of mushroom thrillers set in the Pacific Northwest.

Its a BusinessShe also wrote the brilliant, hilarious standalone novel, Larry’s Post Rapture Pet Sitting Service.

So, without further yak-yak from me, here is Ellen King Rice and her advice on how to treat this business like a business.

*** *** ***

Moving from hobbyist to professional can be challenging in any field. For indie authors, financial numbers and formal paperwork matter. There are several steps, and the sequence of them can make life easier or . . . not.

The first step in finding a path through the thicket of “business stuff” is to remember past challenges conquered. For many people this may be recalling a first bicycle ride or an early cooking effort. For others there may be a wince as we remember that first round of playing “Hot Cross Buns” on an instrument. Whatever your early challenge was, you didn’t know everything when you started, but you learned quickly.

Today, let’s build a ramp up to a business set up, including tax prep work.

  1. Author’s name.

Search your name on the internet. Make sure you are aware of other writers, activists, artists and business people who share your name. In my case, there were several, including one who shared my middle initial. After some agonizing, I decided my author’s name would be Ellen King Rice even as my friends and family know me as Ellen Rice.

  1. Publisher’s Name

I highly recommend that you chose something other than your author’s name. This gives the writer flexibility to write in more than one genre. There are also times when the publishing house name gives a bit more cachet to projects. I chose Undergrowth Publishing.

  1. Tax Number

This requirement will vary by nation. In the United States, you will want an EIN tax number from the Internal Revenue Service. There is an on-line application here: IRS EIN application online.

The EIN is a Federal Tax ID number used to identify businesses.

Having a Publisher’s name and Tax number helps with getting a business license and a bank account. Of course, I didn’t know this, so I did things backwards and sideways. I tried to get a tax EIN and failed when I was faced with the question “What is your name?”  I highly recommend brisk walks and much chocolate to break up paperwork-filing sessions.

  1. Business license

Again, requirements will vary by location and jurisdiction. If you are resident of the State of Washington, you can find the details here:

https://dor.wa.gov/open-business/apply-business-license

I chose Sole Proprietor for my business, but some writers choose to form a Limited Liability Company.

Do you need city or county licenses? In my area, obtaining a state business license triggered a letter from the city demanding I purchase a local license. It took some research, but I determined that the local vendor’s license did not apply to my circumstances (I live in the county, and I sell books on-line).

It’s wise to learn about your community rules, but often these rule sets only apply to those who are selling in person (i.e., your online sales aren’t part of the local tax structure). Even then, there are times when small vendors or special events like an arts fair are exempted.

  1. Bank account

With your writer/publisher names sorted, a Tax EIN and your business license number, getting a business bank account should be straightforward. Mine is with the Washington State Employees Credit Union. I was able to open the business account with $50 and a $5 savings reserve. This gives me an account for Amazon expenses and deposits. I also asked for a dozen checks, which the credit union provided as a courtesy.

Credit card? A business debit card is easy to request once your account is set up, but a business credit card is hard to get. So far, I’ve managed without one.

  1. Spreadsheet and Tax Forms

Last steps! At this point, it is wise to print off the small business end-of-year-tax form that you’ll be using so you can see the information required.

In the United States, this is the Schedule C “Profit or Loss from Business” form from the IRS website. We can use this form to set up a spreadsheet, by category.

We want things set up so a “Sum this category” command will make it easy to fill out the Schedule C at the end of the year.

Details matter. Take some time looking over the Tax form for your situation. Think of it as your End-of-Year Party destination. A party in the tropics requires different prep than a party with penguins. Knowing the lines to be filled makes for clever spreadsheet set up. And, yes, it feels wonderful to be fast and accurate at year’s end.

For Americans, pay attention to Schedule C, Part I which asks what your “gross receipts or sales” are (line 1) and your “cost of goods” (say, printing 30 copies of your book) for line 4.

Next look at Part II. Lines 8 to 27 list different expense categories you can report. Line 8 is Advertising, so I want an “advertising” category when I set up my writer’s spreadsheet for the year. Line 11 is “Contract Labor”, so I’ll set up that category too. My book cover designer fees can go here. Line 18 is “Office expense.”  I set up Office Expense as a category and that’s the designation to house all my paper and printer cartridge charges.

DEFINITELY check in with a qualified tax advisor (which I am not!) to make sure what you are doing is correct before you file your taxes. All I’m encouraging here is to use the Schedule C as a guide to setting up bookkeeping for easy end-of-year number crunching.
Once you have slogged your way through all six of these steps, you should be well on your way as a writing professional. Be sure to celebrate!

Footnote for American tax filers: What happens if I don’t make money? After filling in Part I (income) and Part II (Expenses), I typically show a Net loss (line 31).  That loss amount will go onto a Schedule One form, and from there to Line 8 of the 1040 form as a negative number, which will lower my taxable income.

Thank you, Ellen, for a wonderful and enlightening post. If we intend to sell books at book signings and conventions, we have a business. If we want to avoid problems with our respective taxing agencies, we must jump through the proper hoops.

The next post in this series will talk about book signings and book fairs, and tracking inventory for both tax and insurance purposes. When the pandemic eases and we can go back to having signings and in-person events, we need to manage our costs and protect our investments. This something we all need to consider no matter where we live in this ever-smaller world.

EKR_author_photo_2022About Ellen King Rice:

I am a wildlife biologist who suffered a spinal cord injury many years ago. Although my days of field work are over, biology continues to intrigue me.

I am fascinated by sub-cellular level responses to ecosystem changes. I also like the predictability of animal behavior, once it is understood.

A fast-paced story filled with twists is a fun way to stimulate laughs, gasps and understanding. I work to heighten ecological awareness. I want the details and your new insights to remain in your thoughts forever.

You can find me and my books at www.ellenkingrice.com

​Please join me on Instagram at:

https://www.instagram.com/mushroom_thrillers.

And on Facebook:

https://www.facebook.com/mushroomthriller/

EKR_3book_covers_01162022LIRF

13 Comments

Filed under writing

Tagged as , , , , ,

January 14, 2022 · 8:40 am

#FineArtFriday: Red hollyhocks in the garden of the Ancher family at Markvej in Skagen by Anna Ancher ca. 1916

Anna_Ancher_-_Røde_stokroser_i_haven_ved_Ancher-familiens_hus_på_Markvej_i_SkagenArtist: Anna Ancher  (1859–1935)

Title: English: Red hollyhocks in the garden of the Ancher family at Markvej in Skagen.

Date: circa 1916

Medium: oil on canvas

Dimensions: Height: 63 cm (24.8 in); Width: 47 cm (18.5 in)

Collection: Unknown

Inscriptions: Signature bottom right: A. Ancher

What I love about this painting:

January tends to be dark and rainy here in the Pacific Northwest. We were snowed and iced in for two weeks, and then four inches of rain fell in one day and the floods came—boy, do I need a summer day! So, I found us this one—a perfect day in Skagen a century ago.

She is mostly known for her interiors, but Anna Ancher captured the essence of summer in this painting. Along with foxgloves, hollyhocks are my favorite summer flowers. Hers are beautiful, juxtaposed against the blue sky. Her eye for color was amazing. The yellow and red flowers perfectly complement the color of the building behind the garden.

I feel so much better for having had this glorious day in Anna’s serene garden.

About the Artist via Wikimedia: Anna Ancher preferred to paint interiors and simple themes from the everyday lives of the Skagen people, especially fishermen, women, and children. She was intensely preoccupied with exploring light and color, as in Interior with Clematis (1913). She also created more complex compositions such as A Funeral (1891). Anna Ancher’s works often represented Danish art abroad. Ancher has been known for portraying similar civilians from the Skagen art colony in her works, including an old blind woman.

While she studied drawing for three years at the Vilhelm Kyhn College of Painting in Copenhagen, she developed her own style and was a pioneer in observing the interplay of different colors in natural light. She also studied drawing in Paris at the atelier of Pierre Puvis de Chavannes along with Marie Triepcke, who would marry Peder Severin Krøyer, another Skagen painter.

In 1880 she married fellow painter Michael Ancher, whom she met in Skagen. They had one child, daughter Helga Ancher. Despite pressure from society that married women should devote themselves to household duties, she continued painting after marriage. [1]

Credits and Attributions:

Anna Ancher, Public domain, via Wikimedia Commons. Wikimedia Commons contributors, “File:Anna Ancher – Røde stokroser i haven ved Ancher-familiens hus på Markvej i Skagen.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Anna_Ancher_-_R%C3%B8de_stokroser_i_haven_ved_Ancher-familiens_hus_p%C3%A5_Markvej_i_Skagen.jpg&oldid=616771666 (accessed January 14, 2022).

[1] Wikipedia contributors, “Anna Ancher,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Anna_Ancher&oldid=1041257716 (accessed January 14, 2022).

Comments Off on #FineArtFriday: Red hollyhocks in the garden of the Ancher family at Markvej in Skagen by Anna Ancher ca. 1916

Filed under #FineArtFriday, writing

Tagged as , , , , ,