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Do you wait for the muse to ignite your imagination?
And wait, and wait, and wait—
Then, consider fueling your fiction with an ever-ready source of inspiration.
Our characters lead us places we’d rather not go—that’s the fear I’m talking about.
Of course, we don’t want to go down that road, but then why did we invent that character in the first place?
Forget the muse and tap into the energy of personal grief and failure—the emotionally honesty of our characters may depend upon it.
What do you fear about your story?
This is week-5 of my course, Don’t Get it Right, Get it Written, and some students seem hesitant to blitz that first draft. Is more instruction needed, or are they waiting for inspiration?
Waiting for the muse—waiting, waiting, waiting.
My muse may not give me the silent treatment, but I don’t count on her to make my fiction ring true. Not since the time a beta reader—unimpressed with my work-in-progress—asked me:
“PJ, what do you fear about your story?”
I retreated to a café with my notebook to reflect upon my story, my protagonist, a self-indulgent artist with a dying wife, a son with a nervous disorder, and a runaway daughter. Kids! What a responsibility. Parenthood, it’s a set up for failure. Sure, I struggled to raise my own child. Okay, we weren’t the best parents in the world. Did our own self-indulgences mess him up? I don’t know. Do we have to go there?
I had to go there.
Never mind what I thought my story was about, this was powerful fuel for the story that had to be (re)written.
(For the record, I don’t have a daughter, though I have a son who ran away. He was five when he packed his little red suitcase and marched as far as the sidewalk, where he stopped, then tromped back into the house, slammed the door, and said there were too many kidnappers out there. He’d leave in the morning. But I digress…)
The fuel that fires the engine
My novel, ROXY (Tradewind Books, 2009), features a 17-year-old heroine who travels to Greece to tend her estranged grandfather on his deathbed. The idea grew from the seed of compassion I felt for my own dying grandfather, whose mind “flickered like a fluorescent tube,” he said. He was in tears as he struggled to reason and remember.
Fear of death—there’s a bottomless tank of jet fuel.
SMOKE THAT THUNDERS (Thistledown Press, 1999), was inspired by a one-legged river man. As a hydrologist in Africa, I visited old Changwe every month at his river gauging station. When my contract expired he begged me not to go, even put it eloquently on paper. The letter spoke to me of innocence and goodwill and cruel fate. Whatever became of him?
My heart still breaks for old Changwe, who appears in my novel. His lifelong dream to become one with his river serves to fuel the story engine through the final act.
Writing should be risky
We enjoy forcing our protagonists to suffer their failures, but what about ourselves? I feel that a story should threaten the writer, somehow. Writing should be risky.
By tapping into our fears and our failures we can animate our fictional characters, and thereby fuel the story engine.
Leave the muse alone. She’s fickle, coming and going as she pleases. Nor does she know much about tough love.
Fear—there’s the mistress we should summon. She’s right here, right now, ever ready to fuel our fiction.
“Every story is an escape story.”
I’ve taped that slogan to the wall of my work station.
It clarifies my character’s trajectory.
It helps my story “come true” because it acknowledges a fact of our human condition:
We are all escaping something.
That notion hijacked my brain after a decade of professionally assessing and writing film scripts. I found myself emotionally invested in characters who were trapped. And it remains the case in every good story I encounter.
Here’s what I continue to discover:
All the best protagonists are trapped within the gravity field of an idea, a relationship, or any situation that makes life not worth living. Naturally, they’re going to escape. Or die trying.
Three great escapes:
The Great Escape—Steve McQueen is a prisoner of Stalag Luft III. Of course, he escapes.
A Room with a View—Lucy Honeychurch, on holiday in Italy with her chaperone, tries to escape the company of man to whom she is unsuitably attracted.
In Casablanca, Humphrey Bogart is a prisoner of his self-pity. If he doesn’t put his broken heart behind him, audiences will demand their money back.
Three stories, three kinds of prison—a concrete jail, a relationship, a belief system.
Three kinds of escape dominate most story plots.
#1. Escaping a prison or place
Prison stories depict characters whose goal is a physical escape. O Brother Where Art Thou, for example. And the futuristic Escape from New York. And the current The Maze Runner.
Escape or die trying!—it’s box office gold.
In The Wizard of Oz, Dorothy yearns to escape Kansas for a place “where troubles melt like lemon drops.” Once she lands in Oz, the story is all about finding a way back home.
In Casablanca, which is essentially a love story, almost every character is preoccupied with escaping the Nazis by flying to Lisbon and onward to freedom in America.
The escape to greater freedom—it’s a condition of our human condition.
A more subtle and more common escape theme in fiction is…
#2. Escaping a Relationship
Love affair, job, family—these are relationships from which it’s never easy to walk away. A prison break is nothing compared to escaping some relationships.
Fatal Attraction depicts a happily married man who risks a one-night-stand. Big mistake. His partner in infidelity assumes a relationship from which our protagonist struggles to extricate himself. He’s lucky to escape with his life.
In the Booker Prize winning novel, Hotel du Lac, a bride on the way to her wedding instructs the taxi driver to “Keep going! Don’t stop. Pass the church! Whatever you do, keep driving!” She escapes the wrong man and goes into hiding. Close call!
Once again, in Casablanca, Bogey has escaped to the ends of the earth in hopes of never crossing paths with the woman who broke his heart. Who hasn’t felt the need to escape a relationship? Yikes! Let’s not even go there.
But the most subtle and most significant escape theme concerns…
#3. Escaping Oneself
From On the Waterfront, to Moonstruck, to Good Will Hunting, to Silver Linings Playbook, the protagonists are on a trajectory toward escaping their own self-destructive attitudes and beliefs. Casablanca! Again. The protagonist is engaged in all three escapes.
The hero’s redemption (and ultimate victory) hinges on their transcending their self-concern. And it rarely happens unless the writer brings the hero to the point of despair.
It’s another fact of life—and fiction:
“Desperation is the raw material of drastic change. Only those who can leave behind everything they have ever believed in can hope to escape.” ~ William S. Burroughs
Why do we need to escape ourselves?
Because we are all liars. By necessity.
“We tell ourselves stories that can’t possibly be true, but believing those stories allows us to function. We know we’re not telling ourselves the whole truth but it works, so we embrace it.” ~ author, Seth Godin
The delusions that underpin our human condition—and our equally human yearning for the truth—drama depends on it.
It’s as if fiction exists to remind us that we are born to escape.
Born to escape.
If it’s true that we’re born to escape, it’s one of the juiciest facts of life. It may explain why we read and more importantly (for writers), why we are driven to write fiction in the first place.
This week, check it out for yourself—the films you watch and the novels you read—see if it’s not true that:
EVERY STORY IS AN ESCAPE STORY.
If you’re writing a story and creating a protagonist—can you identify the prison they’re trapped within? What kind of escape is he or she engaged in?
Any thoughts? Share them in the “Comments” below.
By: PJ Reece
Blog: PJ Reece - The Meaning of Life
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I teach the “2-story” story.
Never mind the three-act structure, the best stories can be said to consist of two stories separated by a bottomless hole. Where the hero “dies.”
STORY ONE—from the opening line to the protagonist’s loss of faith in him/herself.
STORY TWO—the protagonist emerges from the hole armed with the moral authority to resolve the story.
THE HOLE—the heart of the story, where all is lost and all is gained. And where audiences, instinctively aware that principles and beliefs obscure our greatest happiness, swoon.
In the first of six classes I’m giving here in my seaside village of Gibsons, British Columbia, I asked the class to consume their fiction with an eye out for that blessed hole in the story. Films depict this essential story moment more obviously that novels. But to my surprise the novel I’m currently reading offered up one of the most graphic examples.
Ask the Dust, by John Fante.
Even you, Arturo, even you must die
The protagonist, young Arturo Bandini, a struggling writer in L.A., jeopardizes his happiness by treating other ethnics as badly as he was treated as an immigrant child in Colorado. After sexually mistreating a Jewish woman, his self-respect plummets. Listen as Arturo comes untethered from his own long-held beliefs about the way the world works:
“Then it came to me like crashing and thunder, like death and destruction. I walked away in fear… passing people who seemed strange and ghostly: the world seemed a myth, a transparent plane, and all things upon it were here for only a little while… We were going to die. Everybody was going to die. Even you, Arturo, even you must die.”
Arturo’s first thought is of death, corporeal death. But until that happens he’s stuck suffering the more painful loss of his belief system.
“Sick to my soul, I tried to face the ordeal of seeking forgiveness. From whom? What God? What Christ? They were myths I once believed, and now they were beliefs I felt were myths.”
A sick soul cannot fuel the organism. A person with no beliefs has no goal. Character, which is synonymous with plot, comes to a full stop.
End of Story-One.
“I said a prayer but it was dust in my mouth. No prayers. But there would be some changes made in my life. There would decency and gentleness from now on. This was the turning point. This was for me, a warning to Arturo Bandini.”
Story-Two begins. It’s a different protagonist who drives the story to its completion.
So, who else spotted a hole in a story this week?
Look! The story has a hole in it!
I have critics who insist that my so-called “story heart” presents nothing new, that I’m simply describing the well-known Act II crisis, which is true. There’s no need for me to stand on my soapbox and shout:
“Look!—there’s a hole in my story! And everything’s flowing into it!”
But, really, I do. In my opinion, its significance overshadows all other story elements. Look what’s getting sucked into that black hole:
The protagonist—disillusioned with the utter failure of his strategies, he falls off the time line into the hole. Really, he’s out of time. What a relief.
Ergo, the plot likewise disappears—bye, bye, for now.
The readers, there they go. Vicariously escaping the prison of narcissistic beliefs, they’re free at last. Every story is an escape story, and the hole is the portal to freedom. For readers, this is the payoff. But for real life interfering, this is where our deepest yearnings would lead. This is where drama delivers. This is where we get our money’s worth.
The writer, too, of course. There she goes, having spent how long loving her protagonist all the way to this dark heart. A writer lives for the moment she can deliver her hero to the hole in the story.
Arguably—I’m working on a proof—we writers are nourished daily by loving our fictional characters in this way.
In this week’s class we discuss “characters.”
Character as plot, as the story engine, and why the hero must die.
If you do know, for God’s sake, tell me.
I’m teaching a course in the fine art of blitzing a 1st draft and it occurred to me that I ought to know what a story is.
A definition of story, I’ll start with that. A writer who knows exactly what a story is will write more efficiently and won’t waste time unnecessarily. Here for instance, a definition from a respected source.
“Once upon a time, in such and such a place, something happened.”
Okay, true enough, sure, fine, as far as it goes. Next?
“A story is the journey someone goes on to sort out a problem.”
The experts have been arguing over story for a long, long time and this is the best they can come up with? Next.
“Stories are the flight simulators of human life.”
Stories, a practice for living? This is the conventional wisdom on this subject, and that’s reason enough to be suspicious. But no student of story should be caught dead buying into such a utilitarian rationale. How can anyone, much less a story-academic reduce the fiction experience to a training session? Training us to do what—navigate politely through a culture that’s underpinned largely by lies?
The same expert goes on to say:
“The main virtue of fiction is that we have a rich experience and don’t die at the end.”
Wait a minute. I consume good fiction so I will die at the end. Don’t die at the end is just dead wrong. That the hero “dies,” and the reader, too—that’s the virtue of fiction. Who are these people who say, Don’t die? Fiction has been telling us since forever that no one grows up who doesn’t die and die and keep on dying to old and outmoded versions of themselves.
Stand by—I feel my own definition coming on—but first more from my research vault:
“A narrative deals with the vicissitudes of intention.”
I like this one, first of all because I know what vicissitudes means. Secondly, it suggests that what we want is going to backfire. “Desire—it carries us and crucifies us,” says author-philosopher, Muriel Barbery. There’s a gutsy definition of story. Next.
“A story transforms the monster into a lover.”
I found this as a reader’s comment to an online article about Scheherazade. “Monster to lover” defines the dynamic at the heart of most good stories. It’s the radical change of heart. Heroes leave their monstrous narcissisms behind. And the upshot looks for all the world like love.
Addicted to stories—why, why, why?
My 25-year study of fiction leaves me convinced that the conventional wisdom about story overlooks its essence. The same blind spot characterizes discussions of Why We Read.
For example: We read to escape a world of troubles. Excuse me? Since when are stories about anything but trouble? “Trouble is the universal grammar of stories,” says story aficionado, Jonathan Gottschall.
Ditto for Why We Write.” Here’s Gloria Steinem: “Writing is the only thing that when I do it, I don’t feel I should be doing something else.” I love that, but—why is that so? What is it about stories that has hooked us since the dawn of time?
What is it about us—our human condition—that is so addicted to stories? Perhaps I should begin the course with a definition of the human condition:
The human condition
A marvellously workable matrix of mental constructs, beliefs, delusions and lies—that’s the mind, that’s our culture, that’s us, that’s your average protagonist. In other words, the status quo of a fictional hero is a house of cards. We’re a precarious situation, and readers instinctively know it.
If you were to write a novel called The Valley of the Happy Nice People, readers would anticipate disaster. Probably be a best seller. Because the status quo is untenable, stories naturally depict characters on a journey toward something more real. Along the way, the blessed disillusionment occurs.
So, what is a story?
I’m working on it.
But it concerns characters trapped within the prison of their belief systems. And they escape the monstrosity of it. Or it’s tragic, and they don’t. Or they come to terms with their imprisonment, armed with a new and more all-embracing point of view.
In every case, the reader of the story is compelled by the hero’s trajectory toward the death of the false.
Not infrequently a protagonist will actually die in the aftermath of their awakening, and despite the death, audiences swoon.
Don’t die at the end? Who are these people who say don’t die?
They better come to my class. It starts tomorrow.
“It’s only when a man gets to the point of a gun in his mouth that he can see the whole world inside of his head. Anything else is conjecture, conjecture and bullshit and pamphlets.”
Welcome back, Charles Bukowski.
The “poet laureate of L.A. low-life” doesn’t pull punches, nor should any writer, or what’s the point? The status quo is a lie, so what’s the point of writing if not to serve as a gun in our collective mouth to wake us up?
Go, Reece, go!
But after reading Bukowski’s posthumous collection of correspondence, On Writing, I’m feeling as wimpish and mealy-mouthed and prevaricating as the worst literary poseur.
This isn’t a good time to lose my confidence. In two weeks I relaunch my writing course, Don’t Get it Right, Get it Written. Yes, I’ll encourage my students to “write reckless,” but no doubt I’ll recommend some rules, even as I infect them with such Bukowski-isms as:
“If I were to write a play I’d write it any damn way I pleased and it would come out all right.”
So, you see the bind I’m putting myself in.
But it’s exciting, isn’t it?
However, to write any damn way you please, you better be a Bukowski, and by that I mean ruthlessly honest, shameless, talented, drunk, living in a flop house, can’t hold a job and have nothing to lose.
Here’s Bukowski further undermining my teaching plan:
It makes me nervous to read those articles on playwriting, “A play must have a premise” and so forth. I am afraid that the problems of our playwrights … is they are TOLD the proper way to do a thing. This may make it go down well, it can help practitioners; it can help bad playwrights become almost good ones, but “how to do it” will never create an Art. It will never shake the old skin, it will never get us out of here.
Here’s where Bukowski helps me out—a good story is all about getting out of here.
Who doesn’t want to get out of here?
How a writer helps their protagonist escape—how a fictional hero escapes his old skin—that’s what we’ll discover in this six-week course. But never mind fiction for a moment, and never mind Art, it’s every person’s responsibility to get out of here. So here’s the kicker—
By aiding and abetting freedom for our fictional characters, we writers do it also for ourselves. (This course is sounding deeper by the minute.)
Bukowski reminds me how trapped I am within the prison of the human condition. And by ‘human condition’ I mean “culture” cluttering up the inside of the head, all the conventional wisdom and status quo, all the lies and beliefs that prevent us from achieving our greatest happiness.
Who doesn’t want to get out of here?
Fortunately, I’ve devised a super-simple overview of how good stories play out in response to this profound dissatisfaction. The hero, desperately seeking freedom (in one of its many forms), is driven to the brink of stripping off his old skin. It’s painful; it looks like a kind of death.
Here’s what it looks like on the cover of my eBook, Story Structure to Die For.
He’s falling, dying, in a manner of speaking. That’s right, you’ve heard it here ad nauseam, “The hero must die.”
Perhaps that’s why I’ve long found Charles Bukowski so compelling. Often drunk and sick and contemplating suicide in his $5-a-week skid row flop house, he strikes me as someone living perpetually on the verge of checking out of here.
Before Bukowski actually did die in 1993, he was good enough to leave me with this:
This is not to say there shouldn’t be articles on playwriting or playwriting workshops. I wouldn’t outlaw anything. Let the people do as they please. And luck to them.
No one should worry about thinking outside the box.
Because THINKING is the box!
Worry about that, instead.
As fiction writers, we needn’t worry personally about the existential angst that “thinking is the box!” might stir up. But we should concern ourselves with how “thinking” relates to the journeys of our characters. And it goes like this:
If we really love our protagonist, we won’t ease up on him/her until they’ve utterly finished with thinking. From opening gambit to the story’s major crisis—thinking reigns supreme.
Thinking reigns supreme
The hero’s goal, her motivation, strategies and actions through the beginning and middle of a story, it’s all a function of thinking. It takes the hero a long way, but (in a good story) never all the way.
Thinking takes our POV character from Page One to the brink of the story heart, but thinking should never be allowed to move her through the heart to the story’s resolution.
This is a basic principle I work with, and it helps me break down the story into two parts.
A super-simple overview
Story One portrays the character operating within his thinking box. It’s a magnificent box of powerful biases and beliefs which, when spent—when emptied utterly—opens the protagonist to “seeing.”
Is that simple, or what?
I have a habit of devolving into a rant at this point, because, although obvious to me, many story experts don’t grasp the significance of seeing vs. thinking. And yet the difference may explain nothing less than why we’re so addicted to fiction.
We yearn to see truth for ourselves
There comes a time in every struggle—if we’ve fought hard enough and failed—when we lose faith in ourselves. The hero grows tired of the sound of her own voice, and weary of the lies she’s forced to tell herself to sustain belief in her strategies. She rejects herself, her thoughts—the whole freaking box!
This is the moment of truth.
But truth is not served by a fictional character digging once again into her bag of tricks to come up with a last ditch solution. It’s just more box! It’s often called “thinking outside the box,” but as we know now, thinking IS the box!
Audiences get their money’s worth when the hero escapes the box for the freedom of no-thought (a few milliseconds will do) and the “seeing” that is the miraculous consequence. If you want to call that a religious experience, go ahead, please. Because it is powerful enough to give the reader a blast of authenticity. And that’s what’s addictive.
I’m designing a writing course for local writers here on British Columbia’s Sunshine Coast. I aim to present a few keys to writing a killer first draft. “Thinking is the box!” is one such key.
Not to overload the writer with rules, these basic principles and overviews will encourage the writer to write the most reckless-but-considered first draft possible.
And you — what are your guiding principles? When you set out, what are those big “story” thoughts without which you would never leave home?
Let me know in the “Comments” below.
Portrait of Syrian girls sleeping on the refugee train
I snapped this shot as I traveled from Budapest to Munich last week.
I look at the photo now with some shame.
After days worrying about getting caught up in migrant mayhem—of perhaps getting trapped in Budapest and meeting with violence and missing our flight home—what finally did I discover at the dark heart of my fear?
What am I afraid of?
Last week in Vienna my wife and I found ourselves at a fork in the road.
One road led to a sidewalk café where I was inclined to hang out with schnitzel and strudel between visits to art galleries until it was time to fly home from Munich.
The other road led south to Budapest.
Budapest, Hungary, where thousands of migrants were breaching police barriers to board trains heading north to more welcoming countries in the EU.
We had to ask ourselves—should we risk it? Anything could happen. Look what was happening!
Uncertainty became a full-blown case of insomnia.
Then it occurred to me how much sleep I would lose if I let fear run my life.
O ye of little faith
We arrived in Budapest to peace and quiet at the infamous Kereti Railway Station. The migrants—hundreds of them—were cordoned off in a lower concourse while Hungarian officials wrestled with their own fears, I guess.
For five days my wife and I soaked up history-rich Budapest. We ate goulash, drank beer, bathed in the ancient Roman baths and boated on the Danube, during which we spotted more migrants — above us, on the bridge, on the move.
By now Austria was rejecting trains arriving from Hungary. At the Austrian border we would have to fight for a seat on another train heading north to Vienna.
The fear again.
This is a selfie I took for the record—minutes before the train pulls out of Budapest’s Kereti Station.
Let’s title this shot: “O Ye of Little Faith.”
What happens next…
Migrants do charge the train. About that I was right. Our scramble for seats is something I’m trying to forget.
Pressed close beside me is a plump Syrian woman who boasts of her six children. On the refugee road with six kids! Framed within her white hijab, her smile beams megawatts. Her Islamic husband, from where he stands in the aisle outside our compartment, keeps an eye on her. (Or me.)
Another mother breastfeeds her infant. How old is this baby? Days? Weeks at the most. Born on the journey? Born on the run. The mind boggles. When everyone else is passing out with fatigue, this stalwart young woman tends the restless child without complaint. How does she find a moment to tend to herself?
“We lost everything…”
I want to hear their stories but no one speaks sufficient English. A teenager wearing a Bob Marley cap opens the compartment door and shouts into the aisle: “English!”
A young man in a blue Adidas track suit stands in the doorway and describes two family homes destroyed. What’s left of his life in Syria was crammed into two backpacks, one lost in the Aegean Sea. “Seven hours swim,” he says, making breast-strokes with his arms.
What’s harder to believe is that someone can smile through the telling of such a tragic tale.
“I… university… mathematics…”
Evicted from the train, we scramble onto another carriage on an adjacent track. My wife finds a seat but I’ll be standing all the way to Vienna. The clean-cut young man beside me extends his hand in greeting.
“Veen?” he asks me.
“Wien, Vienna, yes. I hope so.”
His name is Sayid. He and his buddy are heading for Germany. I ask them what they’ll do there.
“University,” Sayid says. “I… mathematics… three years… one more year, finished. My friend, Johnny, he… economics… one year. He no English.”
Both no German. I teach them a few words—Guten tag and Danke and Bitte. They eat it up. The mind continues to boggle. I suggest they come to Canada.
“Is very far,” says Sayid.
I nod my head. “Is your friend’s name really Johnny?” I ask. Apparently, it is.
“You would like? Take, please.”
The train from Vienna to Munich presents another scramble for seats. Two hours into the journey we nibble discretely on schwartzbrot and other week-old picnic scraps. I’ve been communing with a migrant across the aisle, who offers me a bottle of water. “Take, please,” he insists.
“No, really, thank you. But thank you very much.”
These migrants have nothing and yet they’re offering me their water. They want to take care of me. This is what’s happening here in the heart of my fear.
At 250 km/hr this Austrian train is eerily silent. Limp as rag-dolls, people doze off en masse. I want to take photos but it feels inappropriate. The girls in the seats behind us however are irresistible. But who do they belong to? I make a general request of anyone within earshot. The parents of another breastfeeding infant assure me it’s fine to take their picture.
As for me, I can’t sleep for savouring the peace here at the heart of my fear.
Maybe it’s the lulling motion of the train, but these migrants seem to be in a state of surrender. Which in no way resembles any kind of defeat. They strike me as possessing a wholehearted ability to cooperate with the inevitable.
What would we do if we lost everything? Would we react with such patience, friendliness, and equanimity?
I hope I’m never in a position to find out.
Wherein I visit an artist who marches to a different dromenon.
Dromenon, an old word that might change the way we make art.
Dromenon: art done right.
Art done so right that it not only provokes the gods but leaves them with no choice but to show up at your launch.
Meet artist Ramon Kubicek.
Ramon Kubicek believes in all this dromenon business. Or so I discover when I bust into his studio as he’s buzzing around in preparation for an upcoming exhibition.
I’m met with bees.
“Bees of the Invisible,” says Kubicek. “It’s my theme, borrowed from the poet Rainer Maria Rilke.”
Sure enough, bees are depicted in many of the images. Bees and humanoids and cityscapes and maps and collage and black holes and deep seas and all of a colour palette that’s deceptively happy.
“Bees make us think of the sweetness of life,” says Kubicek, “so I’m hoping we’ll ask ourselves what we’re doing with our own lives. What is our contribution? What do we produce?”
One honey-coloured canvas Kubicek calls “Melissae,” who in Greek mythology were bee-priestesses, nymphs that nursed the infant Zeus not on milk but honey. Melissa means Queen Bee.
Kubicek explains that Rilke saw artists as bees gathering experience from the material world and then returning with it to “the great golden hive of the Invisible.”
Feelings, imagination, and spirit—that’s the hive—the inner life of the artist.
The invisible inner life of the artist
“Working with materiality until it becomes a part of our inner lives, and then offering it up to the world as “honey” or “art,” is not about making money or a big social splash. It is about receiving, and then giving to others, to the gods, a gift.”
Since our creativity is a gift, we artists are obliged to gift our works back to the gods.
Art returned to the source—that’s art done right.
The best art is transformative
The ancient Greeks believed that dromenon compelled the gods to come down from the mountain and mingle with the hoi polloi. Think about it—wherever people gather to appreciate good art—at exhibitions, live performances, book launches—the sacred is present.
“What a wonderful basis for the making of art!” says Kubicek.
Kubicek is sincere. I have long known him as a writer and artist who believes in the transformative power of art.
“People went to the Greek drama festivals to see their favorite plays,” Kubicek says. “And in the process they might experience catharsis and healing.”
And why not? Rubbing shoulders with the gods, something might actually rub off. A little godliness, perhaps. Whatever godliness means to you.
What does godliness mean to you?
To me it means taking myself less seriously. Not taking things personally. And seeing the big picture. All in aid of transcending human pettiness. Or as I like to say, to unselve myself.
I show up at the opening reception at the Gibsons Public Art Gallery to see if Kubicek has provoked the gods with his art.
I ask a white-haired gentleman if he’s a god. “Farthest thing from it,” he says. So I hang out near my favourite canvases hoping for a god-spotting.
I like “Ship of Fools.”
I see people in boats, things floating on water—or is it air?
“It speaks of a voyage,” Kubicek explains. “We sense a journey, physical or spiritual.”
Kubicek points out people left behind. “The most beautiful moments are about loss,” he says. “The best moments are fleeting, such as a child growing up, or a sun setting.”
Meaning what?—that loss and transience are blessings?
“Bees of the Invisible” features an ominous vortex.
“It’s the dark centre of something where we might vanish and be transformed,” says Kubicek.
I see strange letters in the composition. “The Aramaic alphabet,” he says, “the language of Jesus.”
All very mysterious, leaving me scratching my head, as if life itself had a secret centre we are not meant to easily comprehend.
This is Kubicek’s “honey”—a vivid and mysterious yet playful take on our transient existence.
“I like Rilke’s articulation—art and honey. It might be easy to see each as non-essential, until one imagines [bees] gone from the world. Today, we live in a time of ecological stress and our heedless treatment and killing of bees threatens both the natural world and our own survival. This mistreatment exists in parallel with our loss of inner life and our confusion about the role of art.
”I’m still looking for any sign of the gods.
Am I missing something?
Let me know if you see one.
And whoever this creature is — does anyone have her phone number?
But I leave the art gallery buzzing with a certain sweet contentment.
Gods or no gods, Kubicek has done something right.
What makes a book worth reading?
A Theory of Expanded Love, for instance.
This coming-of-age novel by Caitlin Hicks plays out in the months between two famous deaths—Pope John XXIII and President Kennedy, in 1963.
I caught up with Caitlin Hicks to discuss issues important to fiction writers.
“What’s your book about, Caitlin? What’s its message?”
“Message?” she says. “No message. It’s a novel.” And a hilarious one, I might add.
And yet I don’t entirely believe her. Her story is definitely about something. I don’t give novels much of my time if they don’t appear to be about something. The story’s 12-year-old protagonist, Annie Shea, is too outspoken for the book not to say something.
Hicks soon confesses that she “had a question to answer with the story,” and so I ask her, “What question?”
“I’m not telling you!” she says. “I’m not telling anyone.”
She’s starting to sound like Annie, smart and sassy and skilled at digging her heels in.
“If you read the book,” says Hicks, “maybe you’ll find the answer.” Or maybe not. “Because it’s not directly answerable in an obvious way,” she says.
“Was your question answered for you?” I ask.
“Yes, but I’m not going to say what it was.”
Every good book has a secret centre
Caitlin Hicks is right to protect the mystery of her question. Readers love books that circle a central question, even if it’s never explained.
The best novels, like A Theory of Expanded Love, possess a secret centre.
I reflect on novels that have bored me—books whose point is quickly obvious. The hero’s trajectory is unambiguous, and so lacks mystery. The reading experience is mediocre, if not downright tedious. Genre fiction can get like that.
Perhaps this is why A Theory of Expanded Love is getting such rave reviews, because it is about something that is “not answerable in an obvious way.” Something to do with love. Or the lack of it. That’s my guess.
One of thirteen siblings, Annie Shea had to fight for face-time with her mother. “I had been tracking her around the house so she would notice me,” says Annie. Perhaps there’s not enough love in a large family to go around. Or does love expand infinitely? That’s a theme you can build a novel around.
“Whenever I have a question,” Hicks says, “and I create something from that question, it usually turns out to have some holding power.”
By holding power she means compelling. I know writers who want to take that word out and shoot it. It haunts them and for good reason. Compelling is the Holy Grail for novelists who want to write a book worth reading.
As long as I’m exploring…
“As long as I’m exploring then it’s interesting,” says Hicks. “My curiosity is everywhere in the book.”
Hicks may be touching the heart of the matter: As long as the writer is exploring, the story holds the reader.
Few writers speak of stories having an unspoken theme or core. One believer is Orhan Pamuk (Nobel Prize for Literature, 2006):
“[The reader] cannot help reflecting on the meaning of life as he tries to locate the centre of the novel he is reading. For in seeking this centre, he is seeking the centre of his own life and that of the world.”
I wonder if Hicks is trying probe the centre of her own life in the novel. Is her story fact or fiction?
Memoir vs. novel
Since Hicks and her protagonist were both raised in large Catholic families in Pasadena, California, I have assumed that A Theory of Expanded Love is autobiographical.
“Annie Shea is not me,” Hicks says. “This is not a memoir, it’s a novel. I’m not a redhead. Annie is so much smarter and confident. I may have thought what she thought, but I didn’t question things. I was a well-bred Catholic girl all the way up to graduating from college. I was going to confession every day. I was trying to be holy.”
For Caitlin Hicks, her real-life family wasn’t sufficiently pregnant with story material.
“I couldn’t write a memoir because I felt like I knew everything I wanted to know about my family. But then ‘the question’ came up, and I wondered why that was?”
Out of that curiosity a novel was born.
It’s a novel that explores family life through the antics of a pre-pubescent girl, and it made me laugh out loud. Annie is a girl whose desperation derives not from abuse or neglect but from a powerful urge to know how life works. Especially love.
That’s definitely it. Something about love. Love expanding to nourish every newborn heart. Is that it, Caitlin?
“It’s not really a secret,” Hicks says. “But I’m not going to tell. It’s unmentioned, but through the whole book you get a sense of what that might be.”
Here’s what I think:
Love is infinite, and when you read this novel you feel it shining through the young and rebellious Annie Shea.
Annie’s story is more than well worth reading.
When is it not okay to laugh at old people?
My 101-year-old mother, for instance.
Should I get serious and tell her she’s slipping away? That she only weighs about 80 lbs.
And when would I tell her? On our way to the golf course?
Or after we get there, when she’s filling her face with a Sunriser Special of sausages, eggs, toast, and extra fries? Maybe while she’s laughing at my jokes, I could just slip it in? Or perhaps later at her 5-star retirement villa, while she’s glued to the Golf Channel.
It has only occurred to me after all these years that she has been the source of my sense of humour. I always knew how to make her laugh.
I don’t know when she’ll stop laughing but until then I’m going to guiltlessly poke fun at old people.
Here’s a link to MOTHER LOVE where you’ll find a guiltless Reece’s piece about my mother.
“Mother Love” supports the launch of a great new novel by Caitlin Hicks: The Theory of Expanded Love.
Please note: you are allowed to laugh with impunity at anything you find at the end of these links.
By: PJ Reece
Blog: PJ Reece - The Meaning of Life
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If you’ve been reading my deep travel tales, you’ll know how un-smart I am.
Count the times I’ve been run down on the road less traveled!
I was barely home from my travels in Africa and Asia when the gods pulled a U-turn and made roadkill of me yet again.
I was filming in the Canadian Rockies
I was shooting a film on the geomorphology of the high country. Think erosion. Even solid granite breaks up over time and washes to the sea. Everything disintegrates, including the human psyche.
After an exhausting day filming on scree slopes above a chain of turquoise lakes and then debriefing the tapes over dinner with the sound tech we drove to Lake Louise to be closer to our next location. It was midnight by the time we found a tent site on the perimeter of a campground.
We pitched our tent and fell asleep.
I woke at dawn with rain drubbing softly on the sagging canvas.
I heard something else.
I crawled half out to peer around the tent—
Grizzly! Not six feet away from me.
Front paws on the picnic table, she sniffed our cooler, our food supply. Last night we had unloaded the jeep and then hastily secured one end of our pup tent to the table before passing out.
I’m sorry! I told you, I’m not that smart!
The bear took a second to fix me in the cross-hairs of her cold gaze.
I nudged Ken and whispered, “Grizzly.” He wanted to see. I shook my head furiously. He stuck his head out, withdrew, looked at me: “Three cubs.”
Worst case scenario. Now what?
The tent collapsed.
The weight of the cooler and everything spilling out—bacon and steaks and yogurt, and bread, coffee, apples, raisins, nuts and milk and a week’s supply of Snickers Bars—it flattened the tent with us beneath it.
Four bears were sitting on us, eating. And not quietly, I might add.
While we lay still as death.
I thought of Fred.
Fred and I had played hockey at university. He was 6-3 and damned good-looking before he met the grizzly who left him minus one hip, a broken back, no scalp, half a face, and a chewed elbow, and those were just the physical injuries.
I was eroding inside, already.
I’d been here before, my life stopped dead in its tracks. (The cheetah comes to mind, remember?) My granite sense of self becoming “Fred,” I couldn’t muster the necessary thoughts to convince myself that life had meaning.
There was nothing left to obscure the fact that life has no meaning.
There was nothing left.
Hold that thought.
If you’ve read Story Structure Expedition, you’re familiar with how I recruited authors more eloquent than myself to do the heavy explaining through moments like this. Well, here we go again:
John Gray (The Silence of Animals), he sounds like he’s been under a grizzly’s picnic tablecloth:
“Accepting that the world is without meaning, we are liberated from confinement in the meaning we have made. Knowing there is nothing of substance in our world may seem to rob that world of value. But this nothingness may be our most precious possession, since it opens to us the inexhaustible world that exists beyond ourselves.”
That’s it! What every crisis has taught me.
If Mr. Gray moves over we can squeeze physicist, Alan Lightman, into this dilemma:
“In our constant search for meaning in this baffling and temporary existence, trapped as we are within our three pounds of neurons, it is sometimes hard to tell what is real. We often invent what isn’t there. Or ignore what is. We try to impose order, both in our minds and in our conceptions of external reality. We try to connect. We try to find truth. We dream and we hope. Underneath all of these strivings, we are haunted by the suspicion that what we see and understand of the world is only a tiny piece of the whole.”
Lightman is describing the fictional protagonist waking up in the Act II Crisis.
At the heart of the story, heroes see the world as it really is.
Un-smart like me
I’m not saying I’m a hero, but I certainly have been serially un-smart. My talent for not being too smart for my own good has earned me the moral authority to enter the Act III of my life.
And now, writing from the perspective of the final act, I want to share with you some of my discoveries (however arguable they might be):
- The meaning of a human life is to realize—by whatever means possible—that nothingness is our most precious possession
- The best fictional protagonists do just that
- Which aids and abets our own struggle to see the world as it really is
- And that’s why we read fiction
- And perhaps why we write it.
CUT BACK TO ACTION:
Behind the falling rain, low voices. The canvas was suddenly snapped back to reveal a uniformed park official standing over me with a rifle. He shook his head in dismay, or disdain.
I know, I’m an idiot, I’m sorry.
Mama lay in a heap, tranquilized, while her three cubs found refuge up a tree. Campers, soggy in the early morning rain, watched in disbelief.
I know, I know, I’m sorry! It’ll happen again, I assure you.
Good writers—like good protagonists—are never too smart for their own good.
[POST SCRIPT: All this “meaning” business notwithstanding, I didn’t sleep well in a tent for a few years after that.]
Every writer should be so lucky as to have an idea virus eat their brain.
Here’s how it happens:
- First you catch it.
- Then you get it.
- Once you’ve got it, you can kiss your old self goodbye.
This is the story of how existence conspired to throw the book at me—literally—and infect me with an ideavirus that set me free.
A book called Positive Disintegration
I caught it with two hands. Yes, there really was a book. I was living in Africa at the time. After all these years I still remember my roommate tossing it to me. He didn’t hand it to me, nor is tossing accurate, no, he chucked it at me. He’d run out of sympathy for me and my “Dear John” letter.
“She’s engaged to someone else already,” I said. “I’ve only been gone two months.”
“Go, girl,” he said
“Yeah, go to hell.”
Anyway, it was a book called Positive Disintegration. Written by someone whose name I couldn’t pronounce. Kazimierz Dabrowski.
The English was stiff and the syntax was Polish but I quickly got the gist of it—something about our mental development from infancy to full maturity (whatever that might look like) occurring through five hierarchical stages. Between each level lies an existential hellhole.
“Hey, Gary, thanks for this.” My roommate was an industrial psychologist.
Nothing is broken, we don’t need fixing
According to the book, each pothole on the road of life serves as an alchemical crucible. Our negative emotions start the process. So, please, we don’t need drugs. My suffering would propel me to the next level of integration.
The author prescribed creative expression—music, art, writing, whatever. The most imaginative thing I was doing in Zambia at that time was learning to fly, but my instructor had grounded me until further notice.
I started writing poetry. Who was I kidding? Next up, painting. Gary was not amused with my floor-to-ceiling murals in the living room. Movie making was next. I acquired film stock from the president of the local Cine Club, cheap black & white 8 mm film from Russia.
My friends dropped everything to help out. They heard I was shooting a movie called The End. The protagonist smokes himself to death. My script called for atmosphere, so we lit a fire in the living room. I could barely see the actors through the viewfinder. Now we all had tears in our eyes. It was great.
That night, sleepless, I processed the footage in the kitchen sink. To my horror, my developer kit was short the fixer. The silver halide would continue to expose. The film would turn black. I needed fixer!
It was gone midnight but I jumped on my motorcycle and raced across town through the dangerously dark and muggy streets of Lusaka, Zambia, risking potholes, speed bumps, bicycle thieves and black dogs.
I was speeding faster than I dared—for my film—for art! I was beginning to forget myself.
I dipped into a pocket of deliciously cool air and for a second I felt so alive that I even forgot my film. I had almost forgotten her! Dabrowski was right, I was growing out of myself.
I must have forgotten about gravity because I lifted off the face of the earth. From up there, here’s what I saw:
My despair wasn’t bogus, and yet it was lost in the greater scheme of things. There was this project known as Me, all about self-improvement, which is okay, I guess, except it looked so puny.
I was making myself my life’s work—my happiness—and, well, it’s just too small a work.
I never came back to earth
When I became a writer, Dabrowski’s hypothesis helped me to understand:
- The human condition
- Why we are so compelled by stories
- And how fiction really works
Without catching Dabrowski’s positive virus, I could never have written Story Structure to Die For, or Story Structure Expedition: Journey to the Heart of a Story.
You won’t believe this, but upon my return to Canada I discovered that Dabrowski lived for six months of the year in my home town of Edmonton. Six blocks from where I lived! We became good friends. He would serve me strong coffee and dark chocolate while I told him the stories of my serial disintegrations. I can still see his eyes sparkle.
I made a film of Dabrowski
I made a documentary film of Dr. Dabrowski’s clinical practice.
To my great surprise I was honoured with a medal for my support of the Polish Mental Health Movement.
But getting back to the film in the kitchen sink. I made it home with the fixer, all right. When projected, the scenes appeared all woozy and wavy, as if viewed through a fishbowl.
As if some virus had infected the developer.
It took the film to a whole new level.
A good story is often inspired by a powerful experience.
One that changed the author’s mind, their very way of looking at the world.
A great story may change the reader’s life as well.
I’m stealing that opening—and the title—from Dr. John Yeoman over at Writers’ Village. John is re-running one of my recent blog posts and reframing it as a lesson for writers.
I wish I was better at addressing writers’ issues. I might have more subscribers.
Most likely, though, I’ll continue to issue my inscrutable Reece’s pieces and defer to Writers’ Village as the forum for writers looking for mentorship and encouragement.
John has recently launched Story PenPal, which is proving to be a spirited venue for writers to post their fiction and receive feedback from peers and story experts.
I’ll get back on track in a few days with a post titled:
“How to Catch an Idea Virus.”
Or, “The Virus that Ate my Brain.”
Or, I’ll ask Dr. John what he would call it.
A friend just died and so of course I’m very sad.
A little girl cries over her scoop of pistachio ice cream melting on the sidewalk.
How sad is that empty cone? And look at those tears. She hasn’t learned that gravity works against us till our dying day.
A gull with straw in its beak perches on the peak of my roof. Two hours ago I watched it mount its mate to fertilize the egg that would hatch in the nest that no longer sits on my roof because there’s no way a gull family is going to turn my roof into a guano factory this summer as it did last. No way!
Still, it’s sad.
Life never seems to work out, however well we arrange the pieces or play the game. According to most wisdom traditions, that’s good news.
My friend’s passing is sad and yet his absence leaves me with memories of his participation in our writing group over many years. In the empty space he leaves behind I find myself more determined than ever to write well and fast and publish again without delay.
That little girl, is she not the picture of sadness? But aren’t our saddest moments those that loom largest in memory? We look back at them as stepping stones toward our growing up. This ice cream failure can serve her in this way. I hope I’m right.
And a gull with no nest, how sad is that?
I don’t mind being sad. I don’t disparage sadness as a state of being.
I’ve often been told I look sad, and yet I often fall asleep at night feeling showered by gifts.
Sadness!—if I were a poet I would write an ode to sadness.
Such as the time I received the “Dear John” letter in the mail.
I don’t expect you to believe this but as I laid eyes on the envelope thunder mumbled overhead. As I opened the letter the room fell dark and as I read the deadly words the door slammed shut with a gust of wind that delivered such a deluge of tropical rain hammering on the tin roof that sadness seemed to bury me alive.
How long was I a ghost? You’ll have to ask my then-roommate because it wasn’t long before he couldn’t take it anymore and he tossed me a book, saying, “Read this.” Just tossed it and turned away without bothering to see if I caught it, as if I were a beggar in the gutter.
The scene is vivid in my mind, the trajectory of that book flying towards me, a second in time that became the hinge around which my life turned forever.
To this day, the radical attitude I encountered in that rare little book underpins my understanding of the human condition. It laid the groundwork for my existential experiments in India. It underpins my theory of Story as I present it in my two eBooks, Story Structure to Die For, and Story Structure Expedition—Journey to the Heart of a Story.
And all because sadness turned me into an empty begging bowl, I guess. And because gifts would seem to seek the empty place. Is that true?
If so, is that a paradox? Or does that make eminent sense?
I don’t quite know how to end this. I want to return to my writer friend, Rick (may he rest in peace), and to the girl and the gull and to all lovers who fly the coop. It seems I’m surrounded by events that make me sad, but what I want to say is that I’m sorrow’s willing victim.
I could even say that sorrow likes me. It pounds on my roof. It keeps trying to build a nest up there, for goodness sake.
The mystics say that’s good news.
And that little book that changed my life explains why that might be so. It’s called Positive Disintegration, by Kazimierz Dabrowski. He was no mystic, but he had all the reason in the world to be sad.
Perhaps that’s why he and I became such good friends.
I’m going to write about that next.
People do die.
We die of heat exhaustion on the train from Bombay to Delhi.
We die in a taxi cab short of making it to a hotel where we die of despair.
We die of a broken heart. Betrayed. By ourselves. By our stupidity!
I lay on some deluxe deathbed in some beige hotel room somewhere in that suffocating gray limbo called New Delhi and for two or three days I drank blood red orange juice. Where did I find the money for a 3-star hotel? I thought I was broke.
As empty as I was—or perhaps because I was so empty—the image of the beggar in Bombay haunted me. No arms, no legs, not much left of him at all, he was beyond defeat.
The scene won’t quit my head even now. Not sure what I’m seeing as I remember him nudging his begging bowl with his forehead through a thicket of legs, a gauntlet of feet and fumes and cattle and cart wheels and spokes and grime and dogs and shit and broken asphalt. There is no Bombay for me above the knees of that miraculous city. I am down there with him getting trampled and I can’t escape.
At some point it occurred to me—I’m not taking a trip, this trip is taking me.
I was no less curious than the fly on the wall of that hotel room about what would happen next, and how far a person could run on empty.
I’m sweating again on a Delhi street so thick with smog you would be excused for thinking the city had exploded. I’m looking for the offices of British Overseas Airways (BOAC) because I have to escape this blessed country. Where did I get the money to buy an airline ticket? I must have held a few traveler’s cheques in reserve. I can’t remember.
Who can remember everything that happened so long ago? And yet I sometimes remember things I’m not sure I ever saw. The beggar, for instance, whom I saw for only a minute, what I remember about him changed my life.
As the 707 lifted off and banked on a trajectory for Hong Kong I would have been thinking of that beggar. Even as I swore to never ever ever ever set foot in India again, I was carrying him with me. Oaths notwithstanding, I would return to India four more times over the next 20 years.
Why? Because I was looking for answers?
How far can you run on empty? And what happens when you get there?
Hong Kong. What a relief. Clean, efficient, sensible, and above all polite. They were very, very sorry. The Immigration official, he was sorry to tell me that I could not enter Hong Kong. No onward ticket, it hadn’t occurred to me. “Very sorry you come to Hong Kong with no money, so sorry.”
He sent me to the BOAC agent who looked at me as if I might have had a begging bowl protruding from my forehead. He was manufacturing a ticket before I’d finished my sob story. A ticket entirely bogus. Immigration stamped my passport, they were perfectly happy.
I applied to the Canadian High Commission for a loan to see me home. After all, two-years of volunteer work on Zambia’s rivers had left me with schistosomes cavorting in my blood stream, and what’s more my funds had been “stolen” in Bombay, so that here I was running so precariously on empty that by this time tomorrow I would be begging for my supper.
You have to admit, that’s not a bad pitch.
But the High Commissioner wasn’t buying scripts for TV movies. “You have parents,” she explained. “They’ll wire you money.”
While my SOS telegram did its nasty work, I retreated to an offshore monastery.
I didn’t know much about Buddhism or Zen except that the philosophy was Stoic and the life was Spartan. You enter a monastery, you leave everything behind. Fine by me, there wasn’t much left of me. A bamboo mat on a slab in a stone alcove, fine by me. Small log for a pillow, why not?
Oh, yeah, and next to the pillow—a wooden bowl.
The universe was working overtime trying to tell me something.
It’s pretty obvious what the purpose of a monastery is. The silence and simplicity presents a challenge to the monkey-mind. Thinking soon proves pointless, in the aftermath of which things just are. Three bowls of rice a day were a miracle. If they were trying to empty me out, well, I was already losing my urgency to get anywhere.
My final destination might not be a place, after all. Maybe it’s a new way of seeing things.
After a week I returned to Hong Kong to discover that my telegram had not been delivered. “Recipient not home.” I returned to the High Commission and was told to “get a job.”
One Hong Kong dollar—I remember this detail—it was all I had to underwrite my next move. I entered a bar. Was I seeking darkness? Or to speak with someone. I can’t remember.
I found myself gabbing with a friendly face, another Canadian, a round-faced farmer from a small community not far from my home town, as it turned out. I told him of my African sojourn and of my blunder in Bombay and the gift of the beggar and the monastery and being told to get a job, and as we were laughing he ordered us another round, and he slapped some dollars on the table and kept on slapping to the tune of 600 US dollars. I didn’t know him from Adam.
“Pay me back when you can,” he said.
I never saw him again.
I’ve heard it said that the gift seeks the empty place. I suppose emptiness ensures that the gift will be used, consumed, not hoarded but spent. The giver by giving becomes empty and is now in a position to receive. And around it goes like that.
Arriving in Vancouver, I needed $35 dollars to fly over the Rockies to Alberta. A friend from university came to the rescue.
What do you make of all that?
Have you ever survived on empty? WRITE A STORY ABOUT IT! We love stories about people getting run over on the road less traveled. It seems you have to almost die to hear the heart of the world beating.
From Africa I flew to India.
I would return home through Asia, circumnavigate the globe, prove the world was round, see it with my own two eyes.
Bombay. Wow! The smells. The crush of humanity! A beggar with no arms or legs.
My god, he had no face, either.
His begging bowl—if you can picture this—he nudged it along the street with his forehead. I couldn’t look, I couldn’t not look.
For a second I couldn’t breathe.
Have you ever been so far from home that your brain wouldn’t compute?
I don’t know how many rupees I dropped in his bowl, probably a lot, because suddenly and inexplicably I felt more alive. I swore to never again bitch about anything, and isn’t that what travel is about?
Travel puts distance between us and our tired old way of seeing things.
What if you could travel twice as far from home?
What if someone approached you in the lobby of your Bombay hotel with a promise to take you twice as far from home? Would you listen to his pitch?
He is tall and impeccable and impossibly smooth-talking as he invites you to sit down so he can make his case. You’re all ears. Where is this place? How do I get there?
“Very easy, my friend,” he says. “Firstly, you allow me to con you out of all your money.” He is joking, of course, this Mr. Patel. “You have traveler’s cheques, yes? Very good. May I see them? No? All right, later perhaps.”
He hails a waiter and orders wine. “In any case, once you have been fleeced, my goodness, you look in the mirror—are you sick?”
“Depressed, I would think, for sure.”
“No, no, I mean sick, sick. You most certainly need a doctor. Here, I can give you his phone number. He confirms that a parasite infects your blood stream. Perhaps you have been exposed to stagnant water. In Africa? That explains everything. I’m afraid it can be fatal. You must be treated soon. But without money you are going nowhere.”
The wine arrives, a Bordeaux, for goodness sake. Who is this Mr. Patel?
“You cannot escape the heatwave we are having here in Bombay. The humidity in advance of the monsoon is unspeakable. But a cheap hostel is all you can afford, a bare mattress upon which you are lying spread-eagle. You are clinging to it for dear life. Otherwise you would run to the window and hurl yourself onto the street below. Such is your despair. Such is your remorse. You have been such a fool! You no longer trust the thoughts that arise to resolve this calamity. I’m afraid to say, sir, that you thoroughly hate yourself.”
Patel raises a glass in a toast. “You cannot travel farther from home than that, my friend.”
I take what must look like an unsophisticated glub of wine.
“But I can see you are not sold on this expedition. And I understand perfectly. It is not part and parcel of the human condition to collude with one’s own demise. We must go unwittingly. Kicking and screaming as it were. Ha, ha! So be it.”
I have no memory of Patel saying any such things, although I do recall the Bordeaux and that he was a businessman in need of foreign currency for an overseas trip, more than bank regulations allow. He offered me a handsome premium on the face value of my traveler’s cheques, leaving me with cash to convert to currencies for my onward journey.
“We will transact this business over a meal at the Taj Mahal Hotel, yes?”
How to travel too far—be gullible, be greedy, be an idiot!
The Bombay Taj, like most 5-star hotels, smells of money. Money having been spent and money being squandered everywhere you look.
Patel threw a heap of rupees at martinis there in the posh mezzanine lounge—and at various kebabs and little lamb chops and chicken tikka—so it didn’t seem inappropriate for me to hand over my traveler’s cheques for his inspection. It seemed appropriate that his uncle, the hotel’s comptroller, should want to verify the cheques. That Patel should confer with his uncle alone sounded suspicious, so I tagged along as far as the elevator where I lost him!
He slipped into an elevator behind doors that closed in my face.
I bolted down the grand marble staircase of the Taj Mahal Hotel to Reception where I learned that no such money manager existed. Three Patels were registered at the Taj and I hammered on each of their doors in vain.
Deep travel—are we there yet?
I applied for a refund at the American Express Office and was told to check back in a week, by which time I would have examined the mug shots of every criminal known to the Bombay Police. By then I could no longer ignore strange fluids leaking from my body. A doctor prescribed antibiotics and a flight home.
Broke but for the cash in my pocket, I downgraded to a hotel without air-conditioning. I remember lying on my bed naked and sweating under a feeble fan and gripping the mattress in mortal fear of having traveled far too far.
I decided to escape Bombay—to Delhi by train.
If Bombay was a sauna, the Rajasthan desert was a furnace. You opened a window at the very real risk of burning yourself. Every whistle stop along the way provided an opportunity to rehydrate, but instead I gorged on ice cream thinking it would cool me down, and I was right. I began to shiver feverishly. And vomit and retch until my muscles seized and I lay on the wooden floor of the 3rd-class carriage as hopeless as a leper.
A leper without arms or legs!
How far from home was I? I had passed self-loathing hours ago. I was going to die and the sooner the better. I was Humphrey Bogart in Casablanca. “Go ahead and shoot me,” he tells Ingrid Bergman. “You’ll be doing me a favor.”
This is where the fictional hero bottoms out. If only! If I were a fictional character, my writer would save me here at the heart of my story. But this is a true story and I have no one to blame but myself. What do they call this in India—karma? How much more was I supposed to suffer? How much more could I take?
What was I supposed to do—push my begging bowl with my forehead?
If that’s what it takes, okay!
I heard someone mention the Taj. We were passing through Agra, home of the real fucking Taj Mahal, one of the so-called Wonders of the World. I didn’t have the wherewithal to throw up. There was nothing left. There wasn’t much left of me. I didn’t think I would survive till Delhi.
I had never felt—and I have never felt since—so far gone.
To be continued…
Have you ever gone too far? WRITE A STORY ABOUT IT!
We are all starving for stories about people who are greedy for life.
[NOTE: If you don’t want to miss any posts in this travel series, please SUBSCRIBE at the top of the page.]
The fact that the Heart doesn’t show up in most fiction formulas is meant to alarm writers.
One reader must have become alarmed after reading it in my new article: THE HEART OF THE STORY: What Is it, Where Is it, and How Do We Get There?
I’m grateful to writer, Rahma Krambo, for Tweeting it because it reminds me why I’ve been hammering away on this issue for so long. The Heart doesn’t appear in most writing manuals!
Is anybody else alarmed?
It surprises me that I hadn’t previously devoted an article to the Story Heart such as I’ve done here — not on my own blog but over at Helping Writers Become Authors.
Click on over and see what all the ruckus is about.
I have to thank K.M. Weiland for offering her wonderful website for my heart rant. I can’t think of another writer who appreciates what might really be going on in this little-known heart of a story.
Coming up in a day or two, the next episode in my Travel Series:
Deep Travel: When Have You Gone Too Far?
It’s a mega-watt moon shining down on western Tanzania.
That ragged ribbon of moonlight you see is a rough-and-tumble highway known in south-central Africa as the Hell Run. From Dar es Salaam on the Indian Ocean, this 1500-mile lifeline serves the heart of the continent.
A 5-ton truck speeds westward with its load of car tires in a metal cage. At the wheel, a hungry-looking Tanzanian, and beside him an over-stuffed Sikh bending a tire iron just for the hell of it.
Ten miles ahead, beyond a sleeping village, three youths are running along the road. What are children doing up at midnight? The boys stop where the road descends into a wooded valley and shout to someone on the verge of the gloom. That someone is a mzungu, a white boy. Me.
“Habari gani?” I say. I have no idea what they want.
I’m returning to Zambia after traveling north to Uganda, then hitchhiking south-eastward through Kenya and into Tanzania. Now it’s westward as quickly as possible to resume my duties as a hydrologist in Zambezi country. I’ve been gone too long, six weeks, so I choose to keep moving by the light of this impossible moon. I don’t get far. Those boys are waving excitedly.
“What’s up?” I shout. “Unitaka nini?”
Everybody talks about simba but how many have seen a lion with their own two eyes? Exactly. But I appreciate their concern.
“You saw the simba?” I ask.
“Simba eat man!” the oldest kid shouts.
“Yeah? Where?” I ask, skeptically.
“Just here!” He jogs down the hill to join me and points loosely, vaguely, into the near distance.
“When?” I ask.
While still not convinced, neither am I a fool.
The boys are brothers, children of the farmer who dropped me roughly in the middle of nowhere. As we approach the village I hear someone calling “Tobias!” The boys bound toward the village like jackrabbits. A vehicle is approaching. They’re waving it down, bless their hearts. The truck is stopping.
The older kid leaps onto the running board to negotiate the terms of this hijacking. The truckers step down to examine Tobias’ bribe, a tire, which the Sikh inspects in the light of the headlamps. He kicks it and growls and spits on it and tells me to climb aboard, not in the cab but in the cage, which he locks once I’m in, and I wonder if my odds of survival weren’t better with Simba.
Tobias and I shake hands through the bars as the truck moves ahead. It’s a mental snapshot that hasn’t faded all these years later—those boys as my guardian angels. It’s a romantic notion, isn’t it—angels. I don’t honestly do angels, and it’s just as well, or my life story would soon become tedious for its endless interventions of a divine nature.
Down into the valley we go. That laughing hyena at the wheel is targeting every pothole in the road. I’m safer the higher I clamber within that jungle of tires where I hang on like a monkey in a cage. Why do I get myself into these situations? Seriously, what is wrong with me? Let it never be said that I’m too smart for my own good. I’m just that little bit stupid, blessed with the essential naiveté that marks a fictional protagonist. Otherwise those angels I don’t quite believe in would have no cause to show up in my life. Not that I’m looking for trouble—who looks for trouble?—but if you were to accuse me of harbouring an urge to escape the gravity field of the known world, I would plead guilty without hesitation.
By the time we rise out of the valley I’ve made peace with the tires. They cradle me now. Peace is open savannah country by night, moonlit mile after magical mile. The earth is unearthly. I doubt heaven compares with this. Giant leafless baobab trees resemble elephants, mute herds standing guard on the grasslands, benign and protective. I have never felt so far from home.
The truck slows then stops for no apparent reason. The Sikh unlocks the cage and I reckon this for the scene where I’m murdered and robbed. Instead, he crosses the road to exercise his tire iron on a Mercedes abandoned in the ditch, stripping it of its tires in minutes. Welcome to the Hell Run. The African heaves each Michelin into the cage and off they go unaware that I’ve slipped away without a word of thanks.
The back seat of the Mercedes makes a perfect bed for the night.
I’m woken by the sound of a motorcycle, not the guttural rumble of a Harley but the unforgivable racket of a two-stroke Kawasaki. The sun is up and so is the hood of the Mercedes behind which someone is having a go at the engine. Someone dressed from head to toe in black. Father Manon, he calls himself.
“God helps those who help themselves,” he says, as he stashes a handful of electrical leads his saddle bags. He sets his goggles in place and says, “Allons-y! Let’s go, my son!” Saved again! This time by a priest from Chicoutimi, Quebec.
Father Manon drives as if he were immortal. He drives that Kawasaki with one hand so he can bless passers-by without slowing down. He blesses the chickens and the cows and the baobab trees. He blesses the ant hills! We speed along roads cluttered with people who lack the road-wise flow of urban traffic. Cyclists packing enormous sacks of charcoal waver and wobble within a spoke of death, and women balancing colourful bundles half again as large as themselves lead children-in-tow aside to allow us through.
I’m not sure if I’m being saved or not. Or if I want to be saved. I mean, why do I leave home in the first place if not to become lost? Think about it—doesn’t the human condition seem to demand our own undoing? The sages have been telling us since forever to risk everything, to leave everything behind.
I know, I know, easier said than done.
You’re reading this, you tell me—isn’t there something compelling about this picture of a young mzungu hanging onto the robes of a fake priest as he vanishes over the horizon deeper into the heart of Africa? To what end we can only imagine.
Maybe the real angels save us by leading us deeper and deeper into the heart of our own story. I don’t know, I don’t do angels.
But I seem to run into a hell of a lot of them.
(An earlier version of this story appeared here almost two years ago. In response to readers who have asked for more of these road stories, this will be an ongoing series. It’s time I got them all written down. But I don’t want to waste your time, so, please let me know if they speak to you.)
How to fulfill an audience?
I mean, really fulfill.
I think I know what nourishes me.
The romantic genre, for example. Boy meets girl – boy loses girl – boy gets girl back. We’re meant to swoon at the “getting back.” And we do, sure, kind of.
But honestly, do we consume fiction to see characters simply get what they want? How banal. How everyday. How superficial. (I’m getting depressed just writing this.)
Case in point—the movie Perfect Sense.
Here’s a story that almost comes true. The film is on a trajectory for greatness, but with the final shot the writer turns his back on the story. He gives us the standard romantic convention—boy gets girl back—roll credits.
The writer opts to merely sate the protagonist’s desire. And for this we have given up two hours of our precious time?
Perfect Sense makes perfect Hollywood sense
Perfect Sense is your standard romance—boy meets girl, etc.—except that the story unfolds during a global epidemic in which the afflicted become deprived of their five senses. Smell is the first to go, then touch, then hearing, etc.
I saw it coming and was excited—billions of people rendered deaf, dumb and blind. Wow! Humanity will discover that the habitual doors of perception have actually been obscuring life’s true beauty. With the senses gone, pure consciousness will prevail…
And love will have its way with the world.
The perfect sense is love
(Didn’t I just write about this just last week?)
All over the world—in India, Mexico, Thailand—whole populations are moving beyond themselves, helping each other, falling into each other’s arms.
This isn’t boy-meets-girl love, this is impersonal love.
This is Big Love.
The best stories end with Big Love
We saw it in Casablanca, where the hero sacrifices the love of a woman for a higher cause. Love for the wider world—this is Big Love. And it doesn’t just satisfy an audience, it nourishes.
But look again—it’s not even the love that melts our hearts, rather it’s the pain of the sacrifice. It’s Bogart emerging out of smallness. It’s the escape from the small self.
It’s the birth of an evolved consciousness.
Okay, just call it “growing up.”
Oh, yeah… almost forgot… we were talking about Perfect Sense.
The boy, who has met girl and then lost girl, is just about to find girl again. They’re on a trajectory to fall into each other’s arms at the moment the disease renders them blind. Excellent. The screen will go black just before they find each other.
It’s a clever twist on the usual ending, which worked for Crocodile Dundee and When Harry Met Sally and scores of Hollywood romances before and since. But wait a minute! Something’s radically wrong here in Perfect Sense.
While the Big Love disease is sweeping the planet, our protagonists only crave each other. Their love is small, puny. No way I’m buying this ending.
I WANT MY MONEY BACK!
Can’t the director see what’s wrong with this picture?
Let this pair of protagonists find each other, sure, good. But by now they’re infected with Big Love, aren’t they? Petty personal preferences take a back seat to a world that so badly needs love to have its way.
These two characters have proven themselves to be great lovers in the standard, carnal, self-interested sense. Now it’s time for great love to serve the wider world.
That’s how the best stories end.
The degree to which Big Love prevails in the climax, that’s what determines our satisfaction with the story.
That’s what fulfills me, at least.
What more can I say with any certainty?
What satisfies you?
I was browsing Amazon’s Kindle Store this morning.
In the Story Structure Department I noticed a drama unfolding:
“Writing by the rules” vs. “Organic writing.”
On one side it’s all structure and story engineering while the other camp is chanting, Don’t get it right, get it written!
But hold on a minute. The traditionalists insist that structure doesn’t mean formulaic.
The debate rages on writing blogs where the “rule rebels” get to express their disenchantment with the confusion of so many story theories. And who can blame them?
To hell with story theories
To hell with graphs and grids and plot points and page counts and blogs and eBooks and audiobooks and podcasts and webinars and all those online courses with all their marketing savvy—that’s the growing mood out there.
One writing guru has published a title clearly meant to fan the flames of discontent. The subtitle of his book reads: How to Write Unforgettable Fiction by Breaking the Rules.
Who doesn’t like to break the rules!
Well, it turns out to be a pretty standard writing text. Can’t say that I’m surprised. The book’s author is an accomplished novelist, he knows very well what a story is. I’ll bet he knows the rules so well that he knows how to break them. He’s probably a master story engineer.
“Prose is architecture,” said Ernest Hemingway.
And if that’s too didactic, try this:
“Structure is only the box that holds the gift.” ~ K.M. Weiland.
That’s straight from K.M. Weiland’s bestseller, Structuring Your Novel.
The gift that lies at the heart of fiction
I love it.
If the rebels reckon they’re beyond story structure, then they should explore “the gift” that lies at the heart of fiction. Yes, there exists a scene in every good story that lies beyond story structure.
I call it the hole in the story.
A story is two stories separated by a gap
The most ruthlessly simple overview of story suggests that a good story is actually two stories separated by a gap.
A chasm so deep that the plot comes to a halt at the brink.
The plot seems to serve this purpose—to hound the protagonist into this existential nothingness. This scene—often called the “Act II crisis”—is structure’s gift.
Story structure exists fore and aft of this hell hole, which becomes for the hero a chrysalis of moral adjustment. This is the gift.
Here, in the heart of the story, the hero disavows himself of himself. All strategies, structures and belief systems fall away and the human organism finds itself in a position to transcend its own self-serving delusions. This is the gift.
I introduce this concept in my short eBook, Story Structure to Die For.
The heart of the story
Fiction moves beyond structure when the protagonist lands in the heart of the story.
The story heart knows nothing of story mechanics. The heart doesn’t do reason or rules. It has nothing but disdain for a character’s logic, strategies, and petty desires.
Here in the heart we encounter a story’s “sacred mechanics.”
Here the hero finds freedom from the rules that have been preventing his true happiness.
Free of rules! This sounds like the very place an “organic” writer wants to be.
But consider this:
If the rule-rebel-writer wants to love her protagonists sufficiently to deliver them to the gift at the heart of the story, she’ll need a structure to get them there.
A writer needs a story structure to love her fictional characters the way a writer ought to.
If thinking of “story” like this makes sense to you, let me know.
Anyone feel they haven’t read enough “how-to” books on writing?
Claudia in Mendoza, Argentina, says she hasn’t finished reading John Gardner’s The Art of Fiction.
Go for it, Claudia—Gardner is one of my favourites. But before you go, take two minutes to consider my argument for becoming a writer from the inside out.
First, a confession:
Back in the 90s, I devoured the ‘how-to” gurus — Gardner and Hague and Vogler and Egri and Goldberg and Field and McKee and Campbell and Walter and Ueland and Dillard. Those books still adorn my office, their authors looking over my shoulder as I type. How do I get anything done?
I even wrote one of these books myself. I’m looking over my own shoulder!
That’s the answer, Claudia of Argentina–the answer to the “how-to” dilemma.
Write your own manual.
Thereby will you finally be able to unhook from “how-to.”
7 Suggestions for Unhooking from “How-to”
#1. Consume fiction
Read your brains out. Good fiction and bad. Savour, chew, and digest buckets of it. Reflect on how the best writers did it. How she moved you. How the hell did she make me cry? And laugh! I fall to sleep at night replaying the scenes that blew me away, the scenes that turned the story around. What happened there? How did she do it?
I fall to sleep soothed by the art of fiction
#2. Fall in love with the art of fiction.
Write like a lover. I remember watching sports on television as a kid, and how the instant the game ended we’d bolt out the door, bounding like jackrabbits, to the playing field where we would emulate the champions. We played past sundown, playing our brains out, in the dark—Who has the ball!
I’m equally hopeless whenever I read Virginia Woolf. I rush to my manuscript and emulate the hell out of her. I wrote the 15th draft of my novel ROXY in an adrenaline rush after reading Mrs. Dalloway.
What a joy to write like a lover. We’re not mechanics. Mechanics think. Lovers love their characters ecstatically and to death.
#3. Love your characters to death
There’s nothing “how-to” about this dictum, because no one else can tell you how to love your protagonist to death. You invented him and only you know how to thwart him. But you have to do it, the hero must die. Just do it. It is (arguably) all that counts in fiction. There’s no “how-to” book out there that teaches you how to love your fictional characters to death.
To heck with “how-to”—what about “where to”?
#4. Forget “how-to” in favour of “where-to”
What’s the point of “how to” if we don’t understand “where to”? We wouldn’t buy an appliance without knowing what it’s for. So, what’s fiction for? What’s at the heart of fiction? Is that where it’s going? What’s it all about?
Reading the best fiction we learn (repeatedly) that the best protagonists are on a trajectory toward freedom from their lesser selves. That’s “where to.” That’s (arguably) all we need to know. We keep writing draft after draft until our protagonist has arrived. We know he’s there when he stops kicking and screaming. He’s got that far away look in his eye. He’s gone so far and is so disillusioned with his game plan that he has no alternative but to forsake himself. A higher cause descends. There’s no “how-to” about it. This may look like “how-to,” but it’s not. It’s about understanding the human condition.
#5. Don’t try to BE a writer
“How-to” tomes often coax us to be a writer rather than encourage us to do the hard work that would turn us into writers. That is to say, write your brains out. I’ll bet there are young writers out there reading less literature than “how-to” books. We’re being seduced into posing as writers “rather than spending the time to absorb what is there in the vast riches of the world’s literature, and then crafting one’s own voice out of the myriad of voices.” (author, Richard Bausch)
#6. Don’t get it right, get it written
I sometimes run a course with such a title. Students write at home, then come to class to watch scenes from powerful movies—scenes that give the audience their money’s worth. And by that I mean scenes that depict the hero challenging his own human condition. Challenging the right of his own beliefs to prevent his true happiness.
Immersing ourselves in fiction, we get a feel for a story’s essential payoff. We are astonished each time we recognize it. And then we constructively and lovingly critique each other’s work before bolting for home like jackrabbits.
#7. Write your own “how-to” book
Make notes on your own astonishment at how the best writers serve the art of fiction. Each of our understandings is bound to be unique. Your perspective is going to underpin your own advice about “how-to.” Write that book and put it on the shelf and let it breathe down your neck.
Go for it, Claudia of Argentina. Write your own manual out of love for writing.
Our own “how-to” will be born of the love of the art of fiction.
a literary device that poses questions about the relationship between fiction and reality.
Not the kind of thing you would ever find in a book for 3-year-olds.
Until now, that is. I didn’t intend to, honest.
It happened like this:
While writing Story Structure Expedition (which launches in two weeks) I found myself the unwitting protagonist in a Congo River nightmare.
Narrator — that’s the role I signed on for. From Brazzaville we would head upriver in search of the heart of a story. My thesis would prove first of all that the story heart exists, then explore its deadly nature.
Something happened. The essay morphed, it went rogue. Characters showed up uninvited and soon I found myself in a novella. I didn’t ask to become fictional. I suppose it’s my fault for not blowing the whistle, which left me to face the consequences that befall any worthy protagonist.
I didn’t quite get it — me, a fictional protagonist in my own story.
Would I have to suffer the story heart myself? The facts of fiction demand that the hero suffer a massive failure. Meaning what exactly—that my book wouldn’t get written? I would rather die.
I wanted to escape from my own story.
How meta is that?
Anyway, for comic relief I distracted myself by writing a children’s picture book.
I called it, Off your bum, Columbus! Explore the world!
A series of photographs would depict a woolly little character named Columbus who reluctantly abandons his storybook heroes to see the world with his own two eyes.
(Oh, yeah — Una Kitt — that’s my pen name.)
“Be a storybook hero yourself, Columbus!”
Do you see what’s happening here? My cute little alter ego is being made to suffer my surreal ordeal.
“If I was in a storybook,” Columbus asks himself, “what would I do? Storybook heroes do something.”
Columbus confronts the very same metafictional existential dilemma. It’s a book for three-year-olds, for goodness sake!
“If this was a storybook, I couldn’t lie here all day, could I?” says Columbus. “If this book was about me, I’d get off my woolly whatsit.”
Columbus doesn’t have to wonder very long. The tide comes in!
Now he’s in trouble. Now up the Congo River!
I’m betting—in both these books—that readers young and old have a soft spot for the unwilling anti-hero.
I’m already finding out. Columbus launched this week and it’s already heading for #1 in its category. One reviewer liked the “ingenious concept that connected straight to the heart of my child’s imagination and to the way he already plays.”
Metafiction for kids. Who’d have thought?
If you have kids, or are a kid, or just want to see Columbus hit #1, here’s the Amazon link to save Columbus:
Only 99 cents!
I’ve stumbled along on the writer’s journey long enough to learn one thing above all else:
We don’t write to explain, we write to find out.
Boy, did I find out.
Story Structure Expedition: Journey to the Heart of a Story is two years’ worth of finding out.
It launches today as an eBook on Amazon.com. Ninety-nine cents!
Two years of finding out the hard way, I might add.
I discovered what it’s like to be a writer trapped as a protagonist in his own fiction. It sounds crazy, I know. The more impossible my fantasy became, the more I knew something original might be happening on the page.
“A mind-bending whiplash journey,” says one beta reader, “into the heart of how and why a writer can write…memorable stories.”
Truth is, I headed up that jungle river with no such hifalutin hopes. My trip was fueled by a single question:
Does the story heart exist?
Does the story heart exist?
As if the heart’s existence needed proving, which I’m afraid it does, though perhaps not to anyone with the instinct to open a book that promises an expedition to that very heart.
Does the story heart exist?—I let this central question fire me up, can you tell? Listen to this, from the book’s Introduction:
[The heart] exists, all right. Ask the riverboat captain in Joseph Conrad’s Heart of Darkness. Though the heart is hidden upriver, Captain Marlow can smell it leaking. The dread essence lures him to the far side of sanity. He sure found out the hard way.
Ask Rick, the American expat in the movie, Casablanca. Mention the heart and he’ll break into a sweat as surely as if you were marching him at gunpoint to the brink of the abyss. “Go ahead, shoot me,” he says. “You’ll be doing me a favour.” Those are the words of a protagonist on the threshold of the story heart.
Ask that pair of mismatched mavericks in Out of Africa—the baroness Karen Blixen and the hunter Denys Finch Hatton. The heart of their story—as in so many of the best stories—lies in the surrender of the protagonist’s hardened principles. But to relinquish one’s precious beliefs is to die. So, die!
If I was to fulfill my role as protagonist in my own book, I might be required to go that far. How does a protagonist manage that? He can’t, of course. That’s the job of his writer. Which explains why I had to bring her on my jungle journey, dammit. It was all I could do not to throw her overboard.
(I mean, what kind of book is this, anyway?)
What kind of book is this?
Here’s what another pre-reader said about it:
A “metaphorical, philosophical, crossover between prayer, meditation, marching orders, poetry and fiction, that will tantalize your imagination and your soul.”
(I’m not making this up, I’m happy to say.)
Early readers of Story Structure Expedition: Journey to the Heart of a Story are at least enjoying the premise of a metaphysical search. In fact, many questions flow from the central question:
- Would fiction have become our lifelong obsession if it had no heart?
- Would stories ring true?
- Wherever else should their meaning lie?
- If not for the story heart, how would readers get their money’s worth?
- Why would we even read fiction?
- Why would we bother to write it?
Does the story heart exist?
You be the judge.
In the spirit of a book launch you can help bump this baby into visibility on Amazon’s best-seller page by grabbing an e-copy of it this week for 99 cents. And if you feel your mind bending a wee bit, go ahead and leave a short review on Amazon.
All of you, thank you. Whether or not you have the time to support this launch, thank you for being an important part of my life.
I do it for you.
I was tearing up a Zambian highway on my white Honda “Dream” when it hit me.
I thought it was mud.
A convoy of trucks thundering past in the opposite direction was kicking up debris. Even after the last tanker had passed, the flak was stinging my hands and face.
What the hell—that mud?—bees! I was plastered in bees.
I’m telling you this story because I love the road and the dire straits into which a journey often leads. If you’re like me you love to hop aboard a good road story and be taken for a ride.
Bees! I was riding headlong into a swarm. They were inside my shirt. They were up my nose and in my ears and stinging my skull. How could they be biting my skill? I was wearing a helmet. I yanked the clasp and jettisoned the thing before I came to a stop.
Where they came from, I have no idea, but I was immediately surrounded by children.
They didn’t ask permission to debug me, just began pulling them out of my hair, out of my ears. They pulled one off my eye, which was swelling. These kids swatted bees off my back and off my thighs. They were inside my khaki shorts, for god’s sake. They were inside my mouth. My lips were swelling. I had to do something, and quickly.
Africans have a saying: If the snake bites you within sight of your village rooftops, you will die. The victim dashes home, I guess, pumping the venom to the heart. You get bitten far from home, however, and you have nowhere to run. You will stay put and do the right thing.
Though my heart was racing, I could feasibly ride the motorcycle without making things worse. I thanked the kids and sped back toward the city. At home I slathered calamine lotion over the worst swelling before lying on my bed. Calm down, I told myself, just breathe. I felt no panic, no sense of tragedy at the prospect of dying. No regrets.
Here I was in Africa living a dream. I worked the rivers, measured their flow when hippos would allow it. For two years I crisscrossed that high dry plateau by Land Rover, camping out most nights lulled to sleep by the sounds of deep nature on the prowl. I earned my pilot’s licence flying a Cessna 172, shot my 8 mm movies, and rode that Honda almost to death. I was 22 years old.
I lay as still as death. Is this what the Sufis advocate—to die before you die?
I’ve been lucky for the “still as death” moments that life has forced upon me. I’ve learned how to cultivate such moments but back then I was dependent upon bad luck to trip me up and pin me down. I hope you know what I’m talking about.
We normally operate from a sense of being a physical-emotional-thinking entity. That’s us, the subject of our everyday lives. Then we’re brought suddenly and against our will to a full stop and an amazing thing happens. I’m lying there fully aware of “myself” in all its physical-emotional-thinking-ness. But if I can see it, then what is this subjectivity that’s aware of it?
Who am “I,” really?
The question creates a vast space in which time seems not to exist, but the clock on the wall showed that an hour had passed while my condition had not worsened, so I checked my physical self in the mirror. I would be okay. I remember starting to laugh.
I’m telling you this story because I have a vault full of road stories that might add up to a travel book one day. I was mentioning this publishing possibility to an old friend and without hesitation he instructed me to begin with the bees. It’s a short story which not only doesn’t get very far but then I hurry home. What kind of travel story is that?
Long or short, the key to a good road story is that it distances the protagonist from who he or she mistakenly thinks they are. That would be the point of a story, wouldn’t it? We leave home in the hope that we might reach closer to who we really are.
I recently riffed on “road stories” for Patrick Ross over on his The Artist’s Road website. “Road Stories—Why We Like to Be Taken for a Ride.” Check it out.
And let me know in the comments below if you’re the kind of reader who is willing to be taken for a ride. I promise you that my next story will take us miles beyond sight of our village rooftops.
View Next 25 Posts
The writer’s journey. The hero’s journey. Springtime and the open road.
I’m itching to recount my stories of the road—in Africa, India, Pakistan, Alberta, Samoa, Greece, Scotland, Italy, the high Arctic, New Zealand.
In my last post we didn’t get far before I ran into the bees.
Next up is an encounter with “simba” on the Hell Run in Tanzania.
But first a short detour to the UK where the Writers’ Village is graciously hosting my guest blog about “traveling light.”
If you’re a writer with a toolbox over-heavy with tips about story mechanics, then here are more tips! To lighten your load.
Traveling light on your writer’s journey—THIS WAY...
And after you’ve read my Reece’s Piece, join the discussion already in progress…