Everyone has to have their 15 minutes of appearing on video, right?
My wonderful sister, who has a YouTube channel, graciously offered to interview me about The Scattering Trilogy. Here, you can watch us chat about genres, languages, and paganism, and how it all fits in.
This book, the first in the Crossroads trilogy, takes place 850,000 years ago. I read it because it’s in my genre (sort of), and we indie authors writing about super-ancient times gotta stick together.
In my persona as a cave woman, I was hoping to pick up some tips on raw survival. One main strategy employed by Xhosa’s tribe seems to be Running Away. Me approve, as I am a master at this and so are the characters in my own books.
In Survival of the Fittest, Xhosa and her tribe travel from somewhere in the interior of Africa, north, crossing the Great Rift Valley and then (I think?) the Red Sea, or whatever that used to be 848,000 years ago. Once in the Levant (the Arabian Peninsula? Or did such exist back then?), they meet up with another tribe that is already successfully living there, plus a pair of young misfits, accompanied by their pet wolf, who have come all the way from what is now China.
The book moves fast, covering a lot of territory, both literally and metaphorically. It never really took off for me. There were lots of different episodes, each of which could easily have been its own book. The narrative moved back and forth between different groups quite a bit. With Big Idea novels like this one (and like my own books), the reader has to be at least intrigued by the theory of history that the author is exploring, so perhaps my problem was that this element was missing for me.
Another thing that harmed the verisimilitude for me was what appeared to be inconsistencies in the language. On the one hand, the characters don’t have enough abstract thought to count other than saying, “One, another, another …” On the other hand, they can describe to one another things that the hearer has never seen, such as the sea. They call the Cro-Magnon people Big Heads (which seems fair enough), but occasionally they will talk about things using modern terms, like Lucy (yes, the Lucy) or “tsunami,” which seems like an anachronism to this linguist. To be fair, any time we are writing about people in an ancient time, we are writing in translation, so the modern writer has to decide when to use a “free translation” (using words that modern readers will recognize) and when to use more literal glosses on the characters’ vocabulary, which gives a more atmospheric feel but is also harder for the reader to understand.
However, the author does lay some land mines that I presume will be stepped on in the next book, notably the obvious danger posed by Xhosa’s ambitious head warrior, Nightshade. If you believe that people evolved about a million years ago, started out not wearing clothes or counting past one, and you’re fascinated by what life might have been like during that time, then this series is for you.
There are lot of notes about terminology and the different humanoid groups at the beginning, which were helpful, but one thing I really, really wanted was a map. I tried to picture the characters’ routes, and I was checking modern maps of Africa, but realizing that the land has probably changed a lot since the time this book is set. I wanted to know exactly where they crossed the Great Rift Valley (which is pretty large, after all); what body of water they were crossing; and exactly where in the Levant they ended up. If there had been a map at the beginning of the book, I would have been flipping back and forth to that puppy every few pages, and perhaps would have been more engrossed in the story.
Judicially expanded “rights” to appeal state court decisions to the federal courts led to an increase in such appeals for habeas corpus from fewer than 100 in 1940 to more than 12,000 by 1970. … This is not to say that there are literally no innocent men ever convicted in a country with a quarter of a billion people. It is simply to raise the question whether extended federal second-guessing of state apellate courts will turn up many or any … and at what cost, not only in terms of money, but in terms of innocent people sacrificed as victims of violent criminals walking the streets longer and longer, while legal processes grind on slowly in a seemingly interminable way.
In short, while saving some individuals from a false conviction is important, the question is whether it is more important than sparing other, equally innocent individuals from violence and death at the hands of criminals. Is saving one innocent defendant per decade worth sacrificing ten innocent murder victims? A hundred? A thousand?
Once we recognize that there are no solutions but only trade-offs, we can no longer pursue “cosmic justice,” but must make our choices among alternatives actually available. These alternatives do not include guaranteeing that no harm can possibly befall any innocent individual. The only way to make sure that no innocent individual is ever falsely convicted, is to do away with the criminal justice system and accept the horrors of anarchy.
Thomas Sowell, The Vision of the Anointed
I realize this might seem a little esoteric, but I’m posting it for two reasons. 1) I love Thomas Sowell, and 2) This theme of having to choose between existing options, none of which are perfect and all of which may be awful, is a major theme of both my second and (freshly drafted) third novels.
A reader recently asked me this, and I have added it to my FAQs page.
Q. I’ve heard writers say “I was going to do X, but then the character did Y.” I always think, Wait, aren’t you the one who makes up what the character does?
A. Well, it may sound strange, but when we are writing fiction, the characters do “come to life” and do things the author wasn’t completely planning. In fact, I’d go so far as to say that if this does not happen, then the story is not working. All the richest parts of my own stories have come about as a result of this phenomenon.
Of course, the author still has to “make up” what the character is doing in a sense, and write it down. But it seems to come from somewhere else at the same time. This is similar to what happens to actors and musicians when they talk about “being in the zone.” They still have to play the notes or say the words, and they need to be talented and to have practiced. But something more is also going on. This is the reason that ancient poets and storytellers used to invoke the Muse before embarking on their art.
I’m not sure this phenomenon is experienced by every single fiction writer. Perhaps there are some very meticulous plotters who don’t experience this and who still write perfectly good books. But this “characters coming to life” thing is definitely a part of my own process, and I’ve heard many other authors talk about it, so I know I’m not the only one.
On a related note, I’ve heard that some people write up “character sheets” before they begin drafting their novel. They come up with details about the character’s personality, back story, etc. In my case, I don’t do this kind of thing before I start drafting; instead, it’s part of the drafting process. I observe how the characters react in the situations I place them, and they reveal back story as we go. It wasn’t until after writing The Long Guest, for example, that I was able to tell that Nirri is an ESTP on the Meyers-Briggs. And MBTI typing him, by then, was just more a silly, fun exercise than a part of character development.
Fellow authors, please chime in about whether and how you have experienced this phenomenon.Do you count on your characters coming to life during the drafting or outlining process? Or is it something that occasionally happens, and you enjoy, but that you can get through a novel without? Has a character ever become so recalcitrant that you had to re-work your entire plot?