Category Archives: D.B. Jackson

Blogging, D.B. Jackson, David B. Coe

Monday Musings: Contemplating Our Republic As July 4th Approaches

This is a holiday week and Nancy’s first week as FORMER acting-president of the university. And so I am feeling lazy and rather unmotivated. I can think of lots of stuff to write about, but those thoughts have been slow to coalesce into a coherent post.

I find myself drawn to the idea of commenting on the July 4th holiday. Our nation is two hundred and forty-seven years old and while I’m sure the founders would be heartened, and probably somewhat amazed, that their experiment in representative government has lasted so long, I am also certain they would be troubled by the strength and prevalence of anti-democratic forces in today’s society. Rarely in our history has our republic appeared so frail.

I could go on for pages and pages about the damage the Supreme Court has done to racial progress in this country with its rulings in the Harvard and UNC cases. Affirmative Action, though demonized on the right for decades, was the single most valuable tool institutions of higher education had at their disposal to rectify racial underrepresentation at elite schools caused by historical and systemic socio-economic inequality. Without it, lingering inequities in our society will only get worse. In the name of “leveling the playing field” the conservative majority on the Court has actually allowed existing structural inequalities — better funded schools in White communities; standardized tests that have been shown again and again to favor White students of means; access to tutors, college admission consultants, and other resources that only the wealthy can afford — to be determinative factors in college enrollment.

But I could also go on and on about the Supreme Court’s ruling in the Moore v. Harper case, in which it rejected a fringe conservative interpretation — the so called “independent state legislature” theory — of the Constitution’s mandates regarding the administration of federal elections. Basically, the decision rejects the notion that state legislatures can do anything they wish, without being subject to state judicial overview, with regard to the creation of Congressional maps and the implementation of election lawse. This decision was a victory for democracy and it offered some hope that this Supreme Court conservative majority, while willing to ignore precedent in cases addressing abortion, Affirmative Action, and other long-established principles, is not simply a jurisprudential arm of the Republican National Committee.

I could lament the fact that for four years we allowed our nation to be hijacked by a venal, narcissistic, kleptocratic, authoritarian thug, who very nearly destroyed our system of government.

But he didn’t destroy it. Instead, he was defeated, soundly and legitimately, and his defeat was affirmed by Congress and the courts. Moreover, we can take satisfaction in seeing his legal chickens come home to roost, and I am hopeful that he will spend the bulk of his remaining years fighting off one well-deserved indictment after another.

And so it goes; so it has always been in this country. Dreams of progress are tempered by signs of retrenchment. Frightening assaults on the norms of a democratic society are countered by reassertions of our shared values. Our imperfect union stumbles forward and teeters back, lurching toward an uncertain future. There is an elegant simplicity to the system set up in our Constitution, one for which I gained enormous appreciation as a student of U.S. history. That simplicity, however, masks an unfortunate truth: ours is an inherently conservative system. I don’t mean this in a “progressive-versus-conservative” context, though often the mechanisms of our government do seem to favor political conservatism.

Rather, I mean that our Revolution was essentially a rebellion of the upper middle class. Learned elites threw off a monarchical system that had outgrown its usefulness and replaced it with a system designed to preserve the social order as it was understood and valued at the time, and to slow-walk any possible radical change that might be contemplated in the future. In essence, the founders sought to alter completely America’s governing realities with as little disruption as possible.

And so, in a sense, the system they created is intended to be frustrating to those of us who wish for systemic reform. That stasis, the founders believed, was a reasonable price to pay for stability. One could argue that a more flexible, change-friendly system might NOT have survived the last Administration. On the other hand, such a system might have allowed us to address decades ago problems of racial and economic inequality that have proved historically intractable.

What’s my point?

I’m flattered that you think I have one.

I suppose I am reminded of the Winston Churchill quote: “Democracy is the worst form of government, except for all the others.” It is easy on this Fourth of July to lament all that is wrong with our country. And no doubt there is a lot to lament. But it’s not all terrible, and the alternatives — some of which we glimpsed as possibilities just a few years ago, much to our horror — range from “not ideal either” to utterly unthinkable. All of which leaves me thankful for the republic we have, even as I chafe at the stubborn pace of progress that it allows.

I hope you have a great week. Enjoy your holiday.

Blogging, D.B. Jackson, David B. Coe, editing, Writing

Professional Wednesday: Beginnings, Middles, and Endings, part III — The 60% Wall

Today, I add to my series of posts about “Beginnings, Middles, and Endings,” with a continued focus on the vast middle of the novel. If you wish to go back and read my first two essays in this feature on openings and middles-part I, feel free to do so. We’ll wait.

Ah, very good. Moving on . . . .

Seeds of Betrayal, by David B. Coe (Jacket art by Gary Ruddell)I have spoken before about the recurring problem I have with manuscripts at about the 60% mark. For those unfamiliar with the phenomenon, which afflicts many writers — not just me — it is fairly simple to explain. When I write a novel, I tend to make fairly steady progress until I approach the final third of the narrative. At that point, I run into a wall. And this has been true from the very start of my career. I didn’t recognize the pattern until one afternoon, while working on my fourth or fifth book. I came downstairs after a frustrating day, and Nancy asked me how my novel was coming.

“It’s awful,” I said. “There is no story here. I don’t know what I was thinking. The whole thing has fallen apart on me, and I have no idea how to move forward.”

“Ah,” said she, without surprise or very much sympathy. “So, you’re about 60% in.”

Cue heavenly light and revelatory music sung by angels. Because, yes, I was 60% in. Apparently, I complained this way, at this exact spot, with every book.

As I say, this is not all that uncommon. Lots of writers struggle with a similar wall. For some it comes a little earlier, for others a little later. But I would suggest that it is caused for all of us by the same basic dynamic in our process.

For the first 60% of our narrative (again, your percentage may be slightly different) we are doing what comes naturally to us writers: namely piling layer after layer of awful shit onto our protagonists. We set them up with lives — with love and security and comfort, with friends and family and colleagues, with belief systems and confidence and purpose. And over the course of 250 pages, we strip all of that away. We throw tragedy at them. We place them in danger. We rob them of the things they need and love most.

Those of you who don’t write fiction might, at this point, ask why we do this. That is a topic for another series of posts. The short answer is, we are horrible human beings, possessed of unbounded cruelty, bordering on sadism. But we are also sane enough (barely) to understand we ought not to do all these terrible things to REAL people. And so we do them to our characters. Also, it makes for really good reading. And what that says about the rest of you, I will leave unspoken . . . .

In any case, after we have done all these awful things to our characters, we suddenly realize (for me at around 60%) that we have to start repairing some of this damage. We can’t end the book with our heroes tied in knots, their lives destroyed, their spirits broken. Because while readers might enjoy watching us torture the poor dears, they also want us to offer them redemption and a new start after all is said and done.

All kidding aside, the problem in plotting comes at that pivot point, the place where the tide finally turns and the main characters start to work their way out of crisis. Setting up all the bad stuff is actually pretty easy. Getting characters to move beyond it, to find their way to a new equilibrium — that’s hard.

So, how do we get past that wall? How do I defeat the 60% block again and again and again?

First, breathe. Our story has not suddenly blown up. The situation is not hopeless. This is no time to give up our dreams of being a writer and turn to orthodonture. Seriously, that turning point is never easy, and writing is not one smooth exercise in creation. Fits and starts are part of the process. So relax. There IS a story here, and there is a way to get our heroes to where we want them to be. But we have work to do. I can’t tell you how many aspiring writers have unfinished manuscripts that break off at this pivot point. Let’s not allow ours be one of them.

Second, we need to think about the ending we have in mind for our novel, and then work backward from there, step by step. What needs to happen in order for our narrative and our characters to get to that finale? Take notes, make a reverse outline, plot point by plot point. In doing this, we may realize that we need to make some revisions to the first 60% of the novel — adjustments that make the ending possible. That’s fine. This is our first draft. No one will know but us. Yes, we might even have to kill a darling or two. That’s part of being a writer.

Third, if the 60% problem still seems intractable, we need to look for places where our story as it reads now has deviated from what we had in mind when we first conceived of the narrative and its ending. Maybe we have taken a narrative detour, or added in a new character, or killed someone off who it turns out we need. Again, this is draft. Rewrites are part of the process. So if we have stuff to fix, so be it. Or maybe we keep those deviations in place and have to rethink our ending. That works, too. But we might need to make some adjustments.

Finally, we keep moving forward no matter what. Don’t give up. Don’t retreat into those rewrites now. We’ll make notes on all we have to revise in the earlier part of the book, and then we will finish. Because that’s what writers do.

Remember, the pivot is hard for all of us. We can overcome it. If we couldn’t, there would be far, far, far fewer books in this world.

Keep writing!

Blogging, D.B. Jackson, David B. Coe

Monday Musings: What We’re Watching These Days

Today’s post is a bit late, for which I apologize. It also offers a break from some of the more weighty topics I’ve covered in my Monday posts. I sometimes feel that I get too serious with my essays week after week, and though I know people enjoy the Musings posts, I also don’t want to be a downer.

Nancy and I have been streaming some new stuff so far this year. For a time, some of you may remember, we were new to the world of streaming (and new to the world of high-speed internet) and were just trying to catch up on the shows everyone was talking about. At this point, we have worked our way through some of the well-known stuff — Ted Lasso, The Marvelous Mrs. Maisel, The Crown, and others. We have enjoyed them (mostly — the most recent season of The Crown left us cold; we didn’t finish it) and are new venturing into newer shows and other titles that we’re finding interesting. I should mention here that we currently have access to Netflix, Prime, Disney+, and Apple TV. We have not yet ventured into Paramount+ or HBO Max, though we intend to eventually.

With that in mind, here are a few of our recent favorites:

The Diplomat — Netflix: Keri Russell and Rufus Sewell as a dysfunctional couple who are both high-profile diplomats. He is undisciplined and currently out of work; she is newly assigned as the ambassador to London, a position that should be low key and cushy but proves anything but. His jealousy of her success and his repeated attempts to manipulate events behind the scenes threaten to wreck their marriage, despite the electric bond between them. The dynamic between the two is fascinating and compelling, the acting is terrific, as is the supporting cast. One season is done, and the show has been renewed for another.

The Night Agent — Netflix: Gabriel Basso plays a low-level FBI agent who answers a late-night call from a young woman (played by Luciane Buchanan) being hunted by the killers who, for reasons she doesn’t understand, have just murdered her aunt and uncle. Events quickly point toward a mole in the White House and a deadly plot against the U.S. government. You don’t want to think too hard about any of what happens, because there are definitely plot holes. And the scripts are not about win any Pulitzers. But the chemistry between Basso and Buchanan is terrific, and the storyline is compelling enough to pull one along for all 10 first season episodes. One season is done; show renewed for another.

The Last Kingdom — Netflix: A historical series set in England at the time of King Alfred (before there actually was an England). Alexander Dreymon plays Uhtred of Bebbanburg, a Saxon-born man who was raised by invading Danes and finds himself caught again and again between Danish warriors and the Saxons who seek to establish a kingdom that will unite all of England. The action can be brutal, bloody, and gruesome, and there is a good deal of explicit sex. But if you’re okay with that, this is interesting, suspenseful, and really well-acted. Highly recommended. Five seasons complete and a final movie, Seven Kings Must Die, also on Netflix.

Star Wars: Andor — Disney+: This entry in the Star Wars mythos is one that I watched while Nancy was traveling, and it really surprised me. I was sort of lukewarm on The Mandalorian and expected to feel the same way about this series, which traces the early years of Cassian Andor’s (Diego Luna) initiation into the rebel cause. For those who don’t know, Andor was one of the lead characters in the Star Wars movie Rogue One. This show serves as a prequel to that, and to the original Star Wars movie. As it turns out, the show is thoughtfully done, and the performances are quite good. I offer this along with all the usual caveats about anything Star Wars-related. Rabid fans of the franchise will already know about this series, but if you’re a casual fan of the movies, you’ll probably enjoy this as well. One season, renewed for a second.

Derry Girls — Netflix: Brilliant, hilarious, and utterly bingeable. This show originally aired on Irish TV, where it was a huge hit. You can now watch it on Netflix. It follows a group of high school kids living in Northern Ireland during the 1990s as the Troubles continue to consume the land. The humor is spot on, making the occasional moments of serious drama are all the more effective. The ensemble cast is quirky and perfect. The episodes are only 30 minutes long and there are only three seasons of the show, making it easy to get through in a long weekend. You won’t be sorry. Oh, turn on close captioning when you watch; the accents are thick. Three seasons. Complete.

Lockwood and Co. — Netflix: We’re watching this one now. Based on the novels by Jonathan Stroud, Lockwood and Co. follows three teens who fight supernatural spirits in a dystopian future London. The teens are portrayed quite well by Ruby Stokes, Cameron Chapman and Ali Hadji-Heshmati, and thus far (five episodes in) the storyline is certainly fun and intriguing enough to hold our interest. There are some plot holes, but the action and dialogue move things along quickly enough to keep one from dwelling on them for too long. Unfortunately, the series was cancelled after one season (10 episodes). One season; cancelled.

And there we are.

Have a great week.

Blogging, D.B. Jackson, David B. Coe, editing, Thieftaker Chronicles, Writing

Professional Wednesday: Beginnings, Middles, and Endings, part II — Narrative Structure

Last week, I began a new Professional Wednesday feature called “Beginnings, Middles, and Endings,” in which I plan to write about the various parts of story writing. In last week’s post, I focused on openings, on how to approach the beginning of a novel or short story.

This week, I take on middles, and I imagine this will be the first of a couple of essays on the subject. Because let’s be honest: By far the biggest chunk of what we write is the “middle.” Even if we take the first two or three chapters as the opening, and the last two or three as the ending, that still leaves the vast majority of our novel occupying the middle. So any discussion of how to handle that middle is going to have to touch on several topics. And today, I am beginning with a general overview — the 10,000 foot view, if you will.

Thieftaker, by D.B. Jackson (Jacket art by Chris McGrath)First, though, it occurs to me that in writing about openings last week, I left out one crucial, but easy-to-describe story element: “the inciting event.” The inciting event of your narrative is, quite simply, the thing that jump-starts your story, that takes the characters you have introduced in your opening lines from a place of relative stasis to a place of flux, of change, of tension and conflict and, perhaps, danger. It is the commencement of the narrative path that will carry your characters through the rest of the story. In his description of the Hero’s Journey, Joseph Campbell referred to the inciting event as the “Call to Adventure.” If you’re looking for examples, think of the arrival of the first letter from Hogwarts in Harry Potter and the Sorcerer’s Stone, or the appearance of Gandalf at Bilbo Baggins’s door in The Hobbit. In pretty much all the Thieftaker books and stories, it is the arrival of whoever Ethan’s new client will be for that episode.

Your inciting event can be anything. Whatever launches your narrative, taking your lead character from a place of balance and peace to one of conflict and tension. And really, that’s it. We can make it more complicated, but it doesn’t need to be.

This description of the inciting event allows me to segue into a broader discussion of story structure, since any formula for narrative will include the inciting event. The most common storytelling model — the one that comes up most when I have conversations with fellow writers — is the three-act structure. This is a fairly simple and helpful framework by which to organize our narrative. Act One is the “Setup” and includes an introduction to our characters and setting, as well as the inciting event and an early climax. Act Two is called “Confrontation.” Here our story takes off, with ever-increasing action and tension, a series of obstacles placed in the path of our heroes, a midway-point plot-twist, and ultimately a crisis that precipitates a second story climax. Act Three, “Resolution,” features our story’s resolving climax, a diminution of action, and finally a denouement that resolves outstanding issues, eases tension, and, in most cases, leaves our characters changed, but at relative peace. You can Google “Three Act Structure” and find essays about this approach as well as visual representations of the structure. I should add as well, that there is also a five-act structure that I find less compelling and useful than this one.

Okay, confession time.

When I write, I never think in terms of “Acts” and I don’t graph out my chapters to make certain I am following the schematic one sees in the results of the aforementioned Google search. It’s not that I find fault with the three-act structure, or try to avoid it in any way. To the contrary. I expect that I use it in every project; if you were to superimpose one of those graphics onto the narrative structure of any of my novels, you would probably find that I write in three acts all the time, following the model quite closely.

What I said was, I don’t THINK in terms of “Acts.” I never have. Not even with my earliest novels. I believe by that point I had already thoroughly internalized the three-act structure, having been exposed to it in novels, movies, television shows, theater, etc. for pretty much my entire life. Writing in that form came as second nature.

Now, that is not to say that those who do organize their novels and stories using the three-act structure have somehow failed to internalize it as I did. Not in the least. The model is so prevalent that I think all of us have it ingrained to some degree, even those who don’t create stories for a living. This is why two writers, one who outlines and one who writes without any narrative plotting written down ahead of time, can both come up with tales that closely follow this structure. As with a written outline, I think of the three-act structure as a narrative tool, something some writers use to organize their thoughts ahead of time. I outline by chapter. Sometimes. I also write without an outline. Sometimes.

And without actually visualizing my story as a three-act graphic, I almost always write in three acts. So why don’t I think in those terms as I’m writing or even outlining? I suppose I am leery of imposing any predetermined structure on my story planning. Even if I wind up following the structure, I want it to happen organically, without the sort of premeditation that might convince me to plot according to pattern rather than according to the exigencies of my story, my characters, my creative vision.

Where does this leave our conversation, and what does it mean for whatever advice I might offer in this first post about story middles?

First, pay attention to the structure of movies and television shows you watch and books you read or listen to. The best learning tools at your disposal are the narratives crafted by creators you enjoy and respect.

Second, even if you don’t plot strictly according to the three-act structure, be aware of the rough pattern illustrated in those visual representations. You want to have an inciting event, a huge twist near the middle, and a deep crisis for your protagonist near the climax. You want your narrative tension to climb until your final climax. And you want there to be resolution at the end.

Third, write your story. Just write it. Get it down on paper (or phosphors). Don’t obsess over structure and whether you have every plot point in the right place. Write it. Finish it. And then, if the structure needs adjustment, handle that in revisions. Your story need not conform to anyone else’s concept of what “narrative” should look like. Write it as you imagine it. And if you decide to “fix” things later, make sure you do so in service to the story YOU want to tell, not the structure someone else says is “correct.”

Keep writing.

Blogging, D.B. Jackson, David B. Coe

Monday Musings: What’s Next?

Today is Juneteenth, of course — a (now) federally recognized holiday commemorating the emancipation of slaves in 1865. And I wish all of you a wonderful day of celebration and reflection. As proud as I am of Joe Biden’s push to make Juneteenth (finally) a national holiday, I am also deeply ashamed to say that my Congressman, Scott DesJarlais (R-TN4) was one of only fourteen members of Congress (all of them Republicans) to vote against the establishment of the holiday. I’m sure he came up with some excuse to justify his vote, but the fact is he catered to the worst instincts of his overwhelmingly white, hyper-conservative constituents. Shameful.

But that is beside the point. Again, I hope you have a wonderful holiday. I plan to, and I plan to take some time as well to think about the progress we have made as a nation, and the great distance we still have to travel on the journey toward racial justice.

***

David and Nancy
(Photo by Cat Sparks)

Here in our little corner of the world, the life I share with Nancy is about to go through a significant transition, one that I believe will be good for both of us. After eighteen months as acting president of the university here, Nancy will be transitioning back to a supporting role and helping to welcome the newly appointed next president of the school. This has been the plan from the start of Nancy’s tenure as acting president, and her role as a special consultant to the next Vice Chancellor (that’s what they call the president here) was even written into her appointment letter eighteen months ago.

My feelings about the coming shift are somewhat mixed. On the one hand, I know she will be happier and more relaxed. She will sleep better, I am sure. She will go back to working 40 to 50 hours a week instead of 55 to 65. She will no longer have to worry about midnight calls from campus security and the Student Life Office. She will no longer have event after event after event, week after week after week. Life will slow down for both of us, and I welcome that.

On the other hand, she has had a remarkable tenure as acting president that saw her steer the school through a period of unexpected upheaval. She presided over a record-setting admissions cycle and the two most successful annual fundraising days in the school’s history. She continued and deepened the university’s commitment to advancing diversity, equity, and inclusion. She was a terrific ambassador and fundraiser for the institution. And she instituted practices to make communication from the administration to the other university constituencies more candid and transparent. All this while also serving as a trailblazer and role-model: She is the first woman in the history of the school to serve as president.

As much as I have worried about her lack of sleep, her constant workload, the effects of being the most visible person on the campus and therefore having a political and emotional target on her back, I have also loved watching her shine in this role. She is a superstar. I’ve known it for more than thirty years. It’s been fun to see others figure it out as well. I am so proud of her achievements, her class, her integrity, her compassion, her remarkable strength, and her incredible skills as a leader, I can’t even put it into words.

The new president comes from another institution, but he was an undergraduate here and served in various roles at the university in the first two decades Nancy and I were here. His younger child and our older daughter went to elementary school together, swam together, played soccer together. The new president’s wife taught ballet to both of our girls. They are wonderful people and will serve the institution well. Nancy and I wish them every success.

What is next for us?

Well, as I mentioned, Nancy will be helping with the transition through the summer and the 2023-24 Fall Semester. On January 1, 2024, she will go on sabbatical for the calendar year. Sabbaticals in academia usually come every seven years. Nancy’s last sabbatical ended in August of 2006. So, yeah, she’s due . . . .

I have no plans to change what I am doing. I will continue to write and edit. But I also expect that during Nancy’s sabbatical we might travel more than we usually do, and I look forward to having a few adventures. We’ll see our girls — lots, I hope. And, of course, I will enjoy having time with my sweetie. Quiet evenings, relaxed meals, unscheduled weekends — all of that sounds lovely. Beyond the Sabbatical and whatever Nancy’s next step will be as a returning member of the university faculty, we don’t know. But that’s okay, too. A little mystery and uncertainty never hurt anyone.

Enjoy today’s holiday, and have a wonderful week.

Bell Bridge Books, Belle Books, Blogging, D.B. Jackson, David B. Coe, Radiants, Writing

Professional Wednesday: Beginnings, Middles, and Endings, Part I — Openings

This week, I launch a new series here in the Professional Wednesday feature — “Beginnings, Middles, and Endings.” Sometimes I focus on minute details of writing in these posts, arcane points of craft or business that are helpful to some, but perhaps less so to others. With this series, I am, at least for a few weeks, returning to basics of storytelling. Because while we can focus on all sorts of small points to improve our writing, the fact is we’re all storytellers, and it never hurts to reconsider the fundamentals now and then.

Today, let’s start with beginnings (“A very good place to start,” to borrow from The Sound of Music). To state the obvious, your opening lines, paragraphs, and pages are where you want to hook your reader. I spend a great deal of time — a disproportionate amount of time — crafting my opening page. I want my readers to be wowed by the time they start reading page 2. I want them to have decided on that very first page that they cannot/dare not/will not put this book down until they have finished reading it. (Yes, they can pause for meals and sleep, but only because I’m a generous soul.)

There are, of course, as many ways to hook a reader as there are stories to be told and authors to tell them. My wonderful friend J.D. Blackrose (Joelle Reizes) begins her book A Wrinkle and Crime with a single sentence that is laugh-out-loud funny. Readers are hooked in mere seconds. Guy Gavriel Kay, another good friend and probably my favorite author, tends to ease into his novels a bit more, allowing his gorgeous prose and the slow build of his brilliant storytelling to draw readers in.

RADIANTS, by David B. Coe (Jacket art by Belle Books)I fall somewhere in between. I don’t think any of my novels have a single opening sentence that grabs readers by the collar (that’s actually pretty rare), but I do try to capture my readers’ attention early. My best book opening, I believe, comes in Radiants (Bell Bridge Books, 2021):

The first time I did it, my mom, who is about as chill as any parent anywhere, hit me. Slapped me across the face. This was after I confessed. She never would have known if I hadn’t told her, and still she hit me. That’s how pissed off she was.

She told me it was a violation, which I didn’t even understand at first. I thought she meant it was against the rules—like a violation in sports—and I had pretty much figured that out when she slapped me. But no, she meant violation in a way I’d never heard the word used.

An invasion. A rape of the mind. She called it that, too. Her slap shocked me. When she called it a rape, I started to cry. I swore I’d never do it again, and she made me promise on my dad’s grave, something she hadn’t ever done before. I did, and I meant it.

I was twelve at the time. About the age my brother is now, and you just know Mom is aware of that. Hyper-aware.

I honored the promise I made that day. I had been tempted in the weeks and months and years since. Many, many times. But never once did I break my vow. Not until today.

Why do I like this opening so much? Well, let’s break it down. Our opening should hint at conflict and tension. It should introduce a key character — a central protagonist or antagonist. It should establish voice. And it should intrigue or excite the reader with action or mystery or romance or some other compelling plot feature. This opening to Radiants does all of those things in about half a page. The conflict and tension are right there in the first graph, with the slap from an otherwise mellow parent. Clearly this narrator did something really bad — and we want to know what it was. These graphs, and her confession, establish the narrator as someone we trust and want to know more about. Already we know she has faced tragedy, as indicated by the oblique reference to her father’s death, and we know she has a younger brother. We get a sense of her voice from the informal tone of the prose. And with that last line we want to know more — about her and what she is going through. This terrible thing she did, this thing that angered her mother so much, she has just done again! Today!! Why? And we’re off and running . . . .

As I said, there are an infinite number of ways we might open our books. There is no single right way to do this (or really anything else in writing). But there are some things to avoid in our opening passages. One of the most common errors I see in the opening paragraphs of short stories and the opening pages of novels, is an over-reliance on exposition. Often beginning writers are so eager to explain their worlds, tell us all there is to know about lead characters, and show the cool stuff in their magic systems or imagined technologies, that they dive into descriptions and explanations. The problem with this? There is almost no tension or conflict in exposition and background. Tension and conflict come from character and narrative. So save the exposition for later. Or, better yet, do away with it entirely and find other, more creative and compelling ways to reveal your background information.

Some writers err on the side of the other extreme. They are so eager to plunge the reader into action that they have on page one some serious, terrible stuff happening to their characters. The problem here is that we don’t yet know the characters well enough to care about them the way we ought to before they’re put through the wringer. As in so many aspects of writing, we want to find balance. We don’t want to bore readers with too much character background, but we also don’t want to overwhelm them with spectacle at the expense of introducing our lead characters.

There are a few things beginning writers are told they should never, ever do with their opening lines. “Don’t begin with your character waking up.” “Don’t start with the literary equivalent of a weather report.” (“It was a dark and stormy night . . . .”) “Don’t open with a dream sequence (and then have the character wake up).” The problem with these sorts of openings is they’re overdone to the point of cliché. That said, it may be that you’ve found a way to open with a character waking up that is perfect for your story and is unlike any other waking-up-opening the world has ever seen. In which case, go for it.

As long as your opening feels original and organic to the story, you should be fine. And originality is most likely to come from your characters. Anchor yourself firmly in the point of view of whoever your narrating character is for the opening scene, and then tap into their emotions, thoughts, and sensations. Make it visceral, make it powerful. Ultimately, the best opening will be one that is compelling, intriguing, and, of course, written with eloquence and passion.

Next week (and perhaps the week after), Middles!!

In the meantime, keep writing.

Blogging, D.B. Jackson, David B. Coe, Writing

Monday Musings: AI Content Creation? No, Thanks

I’ll start by assuring you that this is not one of those posts. I’m not going to share my feelings regarding AI generated content and then reveal at the very end of the post that everything you’ve read was actually AI generated. It’s really me. I promise. How can you be sure? Well, the best evidence is this: I’m too cheap to purchase the AI generator I’ll be discussing . . . .

That I would even think it necessary to say as much . . . well, read on.

An email appeared in my inbox this past week. It came from a prominent maker of WordPress plugins and it advertised a new AI content generator for WordPress sites. “Our latest product [is] aimed at enriching your WordPress experience . . . This tool utilizes the potential of artificial intelligence, adding a formidable ally to your writing process.”

Already, I can hear the Skynet airships hovering overhead. [Sorry — Terminator reference.]

I’ll admit, I was horrified. Wanting to know more, I followed the link in the email and was taken to the product page where I could see the generator in action. “Write a blog post about X,” the app is told, and in a second or two content populates the screen. (I should add here that we are guided through the product tour by what is clearly an AI-generated voice. It’s kind of creepy, actually.) The wording produced by the plugin is clean and flowing, free of typos and grammatical errors. In fact, that’s one of the features the developer trumpets. No more typos. No more wording mistakes. God forbid writers should just learn to write and take the time to proofread their work.

The AI generator can also provide snappy titles for its posts as well as summaries of the content, and it can even adapt the tone of the piece to our mood and preference — among the possible choices are “formal,” “informal,” “optimistic,” “humorous” (humorous AI? Really?), “serious,” “skeptical,” “empathetic,” “confident,” “passionate,” and “provocative.” The tour shows the imagined user switching from “formal” to “passionate.” The differences in the resulting text are minimal.

I’m not naïve, and I’m also not blind to the benefits such a generator might bring to, say, a travel enterprise that specializes in tours of various parts of the world. Rather than write separate essays about each region, which could take hours, a webmaster could input the parameters for each essay and complete the work in mere moments. The resulting prose would be safe, error-free, and quite likely good enough for the company’s purposes.

It would also be anodyne, soulless, utterly lacking in anything remotely human.

Reading the text generated in the product tour, I was struck by a few things. First, for now at least, the AI’s vocabulary and writing style are both quite limited. It repeats words and sentence structure so that there is a sameness to each paragraph and the treatment of each new topic. Also — and this is predictable, I suppose — the generated text is as dry as dust. It is long on fact, on the sort of information one might find in an encyclopedia entry, but it lacks anything to which one might connect emotionally. And it also lacks rhetorical flourishes — simile, metaphor, analogy. It is, in short, boring.

“Say goodbye to writer’s block and hello to effortless content creation,” the product tour says, missing the point entirely. I have written about writer’s block before, and the last time I did, I hurt and offended a writer friend whom I care about and admire. I have said in the past that writer’s block doesn’t exist (and I’ll get to what I mean by that in a moment). The fact is, though, this is not true. Writer’s block does exist. It is a debilitating void, an inability to create that can last months, even years at a time. Writers who are afflicted with it, as my friend has been, suffer greatly.

But writer’s block as it is used commonly, as it is used here in this AI generator product tour, is not at all the same. It is the difference between clinical depression and saying one is “depressed” because a favorite sports team lost a close one.

What most people — including the app developer — mean when they speak of writer’s block is the inability to write something in a particular moment. This form of “writer’s block” presupposes that writing is easy, that creating new content should come without effort, without hesitation, without forethought and contemplation. What most call “writer’s block” I call writing. Because writing isn’t easy. Creating new content takes tremendous effort. It is messy and slow and frustrating. It is fits and starts. It is staring out the window for fifteen minutes at a time, wracking one’s brain for that perfect turn of phrase. It is re-writing the same graph six times until it shines just as we want it to.

And that’s what’s wrong with AI generated content. That struggle to create, that wrenching, ugly, glorious process is what infuses our writing with emotion and energy, individuality and the spark of humanity that makes writing and reading joyous. When we take away the work, the messiness, the false starts and numerous rewrites — in other words, when we make writing “effortless” — we also render it gutless and vapid.

Is there a use for AI generated writing? I guess. I mentioned a hypothetical travel business earlier; AI would probably save its owners a bit of time and money. At what cost, though? How much dumbing down is too much? And where does this slippery slope lead? At the risk of sounding idealistic and giving the lie to my early claim that I’m not naïve, I have to ask: Wouldn’t we be better served as a society if we put as much effort into teaching our children to write and think creatively as we do teaching computers to do stuff for us? The answer seems self-evident to me.

Have a great week.

Bell Bridge Books, Belle Books, Blogging, D.B. Jackson, David B. Coe, LonTobyn Chronicle, The Chalice War, The Chalice War: Cauldron, Tor Books, Writing

Professional Wednesday: The Emotions of a Book Release

The Chalice War: Cauldron, by David B. CoeLet’s start with the obvious: The Chalice War: Cauldron is now out and available from all booksellers in ebook and paper formats. This is the second installment in my Celtic urban fantasy trilogy, The Chalice War. Stone, the first book, came out a month ago. And the third and final volume, Sword, should be released in early August. The cover reveal will be coming soon.

I sold a bunch of copies of the first two books at ConCarolinas this past weekend, and hope to sell bunches more at LibertyCon (Chattanooga — June 23-25). By the time DragonCon rolls around (Atlanta — August 31-September 4), I’ll have all three books in stock.

I have, in a previous post, made the case for supporting authors and their blogs, etc. by buying their published works; I won’t bother making the case again. I have also made the case for buying the early books in a series as they’re released, rather than waiting for the entire series to drop, and I won’t bother doing that again either.

But I did want to spend a bit of time discussing the emotions of a new release, emotions that begin well before the actual publication of the novel. The anticipation can be excruciating. Not just waiting to see the book, or even looking forward to seeing it in the hands of readers, though I feel both of those. With each new book, I experience this sense of excitement about the story finding its way into the world. “I have a new book coming,” I want to shout from the rooftops, “and it is going to blow your minds!!” As I’ve said before, I almost always feel that my newest book is also my best, and so I want to show off a bit, let people see what I’m capable of as an artist now. Ego? Maybe. Pride? Definitely.

Children of Amarid, by David B. Coe (Hardcover -- Art by Romas Kukalis)I’m asked quite often if I still feel the thrill of seeing a new book in print, even after so many years and so many releases. And the truth is, I do. Sure, the very first time was unlike anything I’ve experienced since. I still remember getting a call from the local bookstore here in our little college town. My author copies hadn’t arrived yet, so when the store manager reached out to let me know the hardcover edition of Children of Amarid was in stock, I rushed over to see it. I’m pretty sure Nancy came with me.

And, typical of me, I was so excited to see the book, to hold it in my hands, to see my name right there on the cover, right below the gorgeous artwork. I was over the moon. But I also recall thinking, “Hmmmm, the image is a bit too dark, and the colors don’t pop the way they should.” I have long been Glass-Half-Empty Guy . . . . Which doesn’t change the fact that I was right. The cover did come out too dark, something Tor corrected with the mass market paperback edition a year later. Just sayin’.

Those competing impulses, though, are fairly typical for me, and, as I gather from conversations I’ve had with other authors, for many of my colleagues as well. Yes, the thrill is real. So is the worry about sales and critical response, the hyper-sensitivity to anything that might be even slightly off with the new product, the certainty that the excitement will prove fleeting while the concerns linger.

We authors notice things others don’t — the darkness of the images is a perfect example. No one else thought the jacket art for the hardcover of Children of Amarid was anything other than cool. But I picked up on the (very mild) flaw immediately. That said, I have been fortunate with my book art throughout my career, and have liked the cover images that appear on almost all my books. There are a couple of exceptions, but I won’t say more than that. The point is, I have never actually hated one of my covers. I know plenty of authors who have. I can’t imagine how difficult that would be.

There can be other problems as well. Sometimes the maps we put in our books are split in an awkward way in order to fit them in the front pages. Sometimes there are typos. I know authors who have had their books published only to find that the print editions begin or end with the wrong chapter or scene!! Oh. My. God. I would lose my freaking mind. All sorts of things can go wrong.

And, as I mentioned before, even if all goes as it should with the published version of the book, and even if the jacket looks great, sales can disappoint. So can reviews. Releases can coincide with economic downturns. Or national tragedies. Or global pandemics. We have no control over such things, of course, and in the context of world events, the fate of our book release is pretty insignificant. Except to us. For us, it’s more than a book release. It’s the realization of years of work and hope and passion.

The Chalice War: Stone, by David B. CoeWith all this in mind, I am happy to say that the releases of The Chalice War: Stone and The Chalice War: Cauldron have gone great. No new pandemics. The stock market is up. The art work looks marvelous. All the chapters are just where they should be. (I think — I should probably check to be sure . . . . Yep, they look great!) Sales? I have no idea at this point. It’s too early to know. Reviews? We’ll see about those as well. I worry, of course. I want these books to succeed. I want you to like them. And, if you do, I would love for you to tell the world.

Thanks for reading this.

Keep writing!

Blogging, D.B. Jackson, David B. Coe

Monday Musings: Contemplating The Cosmos Again (Or Is It “Still”?)

I am just back from a weekend in Charlotte, where I attended ConCarolinas. This only a few days after my return from Wyoming/Colorado. It’s been a whirlwind couple of weeks, and convention season is far from over.

But my thoughts remain fixed on the wondrous days I spent at the Launch Pad Workshop in Laramie that I wrote about in last week’s post. Launch Pad is intended to educate creators so that when they introduce concepts related to astronomy and space travel to their work, they do so in an informed, accurate way. The workshop does far more that that, however, at least it has for me. It has made me think in different ways about a host of issues and questions. Last week, I focused on the new urgency and moral weight with which it has infused my thinking regarding global climate change.

This week, my thoughts have been trending in a somewhat different direction.

It is a given of astronomical thinking, and also of physical and chemical law, that all the matter found in the universe today was formed at the time of the Big Bang. The vast majority of that matter exists now in the form of hydrogen and helium — the latter is produced, along with energy, by the fusion of hydrogen atoms in stars. Hydrogen, the lightest element, accounts for 73% of all the matter in the universe. Helium accounts for 25%. All the other known elements combined account for the remaining 2%. That’s all. Two percent. Proving once again that stars are big, and there are a lot of them.

This, though, is not the point I am trying to make.

Dying Star
A dying star. Credit: NASA, ESA and the Hubble SM4 ERO Team

When stars are formed, and when stars die, other elements are created by the tremendous pressure and energy produced by extreme gravitational forces. I won’t attempt to go into the physics of this because I am fated to screw it up in some way, inviting ridicule and undermining the larger purpose of this post. You’ll just have to trust me on this, and also on the rest of what I’m going to say. Namely . . . .

There is, in the birth, life, and death of a star, a circularity of consumption and production of elements and resources that mirrors what we see in, say, the death of a tree in a primeval forest. Nothing is lost; everything from the old goes into creating new star “life” — new energy and mass — just as every component of the downed tree infuses the soil with nutrients for new saplings. Probably this is self-evident, but I believe it is worth noting nevertheless. Ecology of this sort, whether on the scale of trees or of stars, is elegant in its efficiency, beautiful in its symmetry.

Combine this with the sheer size of stars and galaxies, and we are confronted once more with the relative insignificance of our own world. Yes, we have polluted and scarred our world. We risk poisoning ourselves — our food, our water, our air — and rendering our world uninhabitable. But the universe will go on. Long, long, long after we as a species are gone, our planet will be consumed by our dying sun and all that we are and all that we leave behind will be reclaimed by the universe and used to create new stars, new planets, perhaps new life.

This past weekend at the convention, though, a conversation among friends turned to the question of what happens to us as individuals when we die. Now, I am not a religious person. I don’t believe in an afterlife. I don’t believe in heaven or hell. I don’t believe in reincarnation. But the universe is filled with the unexplainable, the unfathomable. There are forms of matter and energy that the smartest minds on the planet have yet to figure out fully — dark matter and dark energy, quarks and gluons. We have so much yet to learn.

So, who is to say what happens to our spirit, what some might refer to as our soul? Does it exist? I don’t know. And if it does, I don’t know what form it would take, though I expect it would be more energy than matter. But energy and matter both are subject to laws of conservation. They can’t be lost or gained. They continue, and have since the Big Bang.

And if closed, circular, conserving systems govern what happens to the smallest of creatures and plants, to the great Sequoias of Pacific forests — the largest living things on Earth — to planets and stars and galaxies, mightn’t they also govern what happens to us? Not only our bodies, but our essences? I’m not trying to get all metaphysical here. Really, I’m not. I’m not saying “This is.” But after all the mind-blowing stuff I learned at Launch Pad, I do find myself saying, with ever more frequency, “Couldn’t this be?”

Have a great week.

Bell Bridge Books, Belle Books, Blogging, D.B. Jackson, David B. Coe, The Chalice War, The Chalice War: Cauldron, Writing

Thursday Teaser — THE CHALICE WAR: CAULDRON Drops Tomorrow!!

The Chalice War: Cauldron, by David B. CoeThe Chalice War: Cauldron, the second volume in my new Celtic-themed urban fantasy, will be released tomorrow by Bell Bridge Books. And to get you a bit more excited about the release, I offer a new teaser — my hero’s first encounter with the Celtic sea god, Manannán mac Lir. Enjoy!!

*****

While Carrie continued her conversations, Riann wandered up the strand. Near a rock pool, she came upon a man who sat in a rickety lawn chair, an ancient Billabong baseball cap on his head, and two fishing poles set in rod holders before him. A dory rested at the tideline a short distance away, its wood worn and badly in need of fresh paint.

Or so she thought at first glance.

When she glimpsed it from the corner of her eye, the boat looked quite different. It was golden and perfect. She halted and stared straight at the vessel; once again, it appeared to be a battered old rowboat.

She wheeled to face the man. “What—”

His smile stopped her.

He was gorgeous. His chin and cheeks were grizzled, and the corners of his emerald eyes crinkled. He had a dimple on one side, and his hair stuck out from beneath his hat, hanging down to the base of his neck. He wore khaki cutoffs and a stained, torn short-sleeved shirt, unbuttoned to reveal a tanned and toned chest and belly, lightly covered with fine silver curls. She had been with men and women, and she preferred the latter. But she would have taken this man to her bed without hesitation.

And he seemed to know it.

“You like my boat?” he asked in a soft Irish burr, his voice a warm tenor.

She eyed the dory again, then averted her gaze slightly, enough to see it turn golden once more.

“I don’t understand,” she said, facing him.

“Of course you do, love. You understand perfectly.” He nodded at Quinn, who stood beside her. “Your conduit is beautiful. May I?”

Before she could answer, he clicked his tongue and held out a hand, palm up. Quinn strained to reach him. Riann released the leash, unsure of why she did it. Quinn trotted to the man and sat in front of him, allowing him to scratch her ears and neck.

“Aye, a fine creature.” He regarded her. “You’re Michael Donovan’s girl, aren’t you?”

She gaped, but took a step toward him. “You knew my father?”

“Aye, love. He was a good man. His death was a terrible loss for all in the magical world.”

Riann stole a glance at Carrie, started and looked again, then turned a quick circle. A soft wind blew off the water, cooling the day, and the surf surged and retreated as always. Silver gulls circled and cried, and a sea eagle flew past, clutching a fish in its talons. But every person on the beach and the sidewalk had frozen in place, as if time had stopped.

“I’m dreaming,” she murmured, frightened.

“You’re not even asleep.” He slipped a hand into his pocket, pulled out something that caught the sun with a flash of silver. He tossed it in her direction.

She caught and scrutinized it. It appeared to be a coin of some sort, though almost all the detail had been worn away. She thought there might be a head on one side. She couldn’t make out the design on the obverse. It was mostly round, and slightly concave.

“What is this?”

“A drachm. A Celtic crown essentially. Proof that I’m real, that this is real.”

Riann turned it over. “How—”

“Twenty-two hundred years, give or take.”

She studied the coin for another moment before walking closer to him and holding it out for him to take.

“Keep it,” he said with a smile. “A token, to remember me.”

“Who are you?” Riann asked, fear giving way to curiosity.

“Forgive me. Manannán mac Lir, at your service.”

She’d heard the name before, from her father, of course. She combed her memory.

A small frown creased the man’s brow, which, impossibly, made him even more attractive. “Come now. I refuse to believe that Michael never spoke of me.”

“He did. I just can’t remember—”

“You would forget a god?”

And then she did remember.

Manannán, the sea god. A trickster, her father called him. Fickle, even capricious, like all the Celtic gods, but essentially benevolent.

Riann wondered if she should bow, or kneel.

“Most prostrate themselves before me,” he said, his tone severe.

“O-oh! I . . . I didn’t know.”

He laughed. “That was a joke, love. I had the sense you were about to curtsy or some such.”

She felt her face redden.

One of the fishing poles juddered and nodded. Manannán sat forward, took hold of the pole, and reeled in what turned out to be an enormous silver fish. The god removed the hook from the creature, whispered something to it in a language Riann didn’t know, and heaved it back into the water, easily clearing the coastal breakers.

“Why—”

“Just checking in with old friends. What do you know about the woman?”

As quickly as blood had flooded her cheeks it now drained away, leaving her cold, despite the sunshine.

“What?”

“The woman. The dead one they found last night.” He continued to scratch Quinn’s head. She licked his hand.

“That was you,” Riann said, remembering how Quinn growled and stared into the darkness. “You were watching us.”

“What do you know about her?”

“She was Sidhe. She was killed by a Fomhoire and her demon. But that’s about all. I don’t know why they killed her.”

“Fomhoire need a reason?”

She lifted a shoulder, conceding the point.

“You know nothing more?”

“I know her name, where she worked, that she was on a museum board and was recognized for her philanthropy.”

“Which museum?”

“The Australian.”

He nodded, thoughtful. “What else?”

She shrugged again. “That’s all.”

Manannán’s frown this time conveyed disapproval, as if he thought she should know more.

“I’m sorry,” she said, because she thought he expected it.

“No worries, love. But I may check with you again at some point. If you learn anything of value, I hope you’ll tell me. Fomhoire incursions are becoming too frequent for my taste. And now they’ve focused their attention here. There has to be a reason.”

“There are others who know more than I do. Why ask me?”

“Who says I haven’t asked those others?” He let the question hang, a gentle rebuke. “As to why you, because you were there last night, of course. Because you knew enough to convince the police to let you see the body. That was well done. Michael would have admired your resourcefulness.”

“Thank you.”

He smiled in answer and her knees nearly gave way. Rather than stare at him, she cast another look at Carrie, who still stood frozen with the brawlers. When Riann turned back to the god she found him eyeing the reporter as well.

“She a friend of yours?”

“I suppose. We’ve only really just met.”

He nodded, his gaze lingering on Carrie, an odd twist to his grin. “Interesting,” he murmured.

“What is?”

Manannán turned back to her, his expression brightening. “Not a thing. Remember what I told you. Learn what you can, and watch for me. My demesne ends at the shore, so I’ll always be near water.”

“Yes, of course.”

“I’m going to start things again now. You may experience a moment’s unpleasantness. It’ll pass. ’Til next time.”

Before she could say goodbye, a wave of dizziness crashed over her and she staggered. Voices reached her. A dog on the far side of the street barked and a car engine revved. The world had awakened.

Manannán was gone, as were his chair, the fishing poles, and that magical golden boat. The coin lay in her palm. Proof . . . . Quinn whimpered and sidled back to Riann.

Riann scratched her head absently.

Carrie called her name and when Riann looked that way, she waved and beckoned. Riann strode over the sand to the sidewalk. Already she felt better.

“Do you have the images you need?” Carrie asked.

“Uh . . . yes. Your interviews are over?”

The woman nodded. “I have enough to write my story.” She surveyed the beach. “It’s nice here. Too bad we haven’t time to stay.”

“Yes. Did you happen to notice the man I was talking to?”

“I didn’t see you talking to anyone. Who was he? Did he see what happened last night?”

“No, nothing like that. Just . . . just a guy fishing. We should probably head back.”