Every time that I open Anori – something I have done a couple of thousand times – and wait as the document slowly loads, my always eye fastens on the opening line. And it’s never what I want, which has led me to change it some fifty or sixty times.
Dee watched the police car turn down the empty street and vanish on the other side of the park.
The keys to this sentence are a. the police car, b. the viewpoint (from a penthouse apartment) and c. the winds of Hurricane Sandy.
Jostled by the winds, the police car vanished on the other side of the park, as Dee slid the balcony door closed.
And then I think it’s all too much and that I only need the bare bones: The police car vanished on the other side of the park.But, that doesn’t work. Neither does: Dee braced herself as the gusts of wind came up again.
I want to communicate an isolated and brooding tone in the opening, something like Dee stood alone watching the police car as it went from sight on the far side of the park.But not that either.
The writing process can be hard, especially in what is left behind. I had to remove another scene from Anori. The dialogue was strong but it didn’t move the story. And so…expunged.
The set-up: Dee has just arrived in Greenland (where the space ships are being launched) and has dinner with Val, one of the pilots, who confesses a dark moment from her past.
“Yeah, this, I don’t know, trapped in a prison from cradle to…what?” Dee laughed. “What do you die in?”
“Death bed, I guess.”
“Grave! Cradle to grave. Trapped in this existence.”
“Try not to think about it and then move on.”
“Better than thinking about being raped.”
“It was someone I had known for years. The whole thing, I mean, the whole thing was such a nightmare. We were friends. He was laid back, a decent guy. And then, I don’t know, he just turned into this asshole Mr. Hyde.”
“He was drunk?”
Val shook her head violently like she was trying to not be drunk. “Everybody drank. I had too much. But not pass-out drunk, nothing like that. Just hanging out, relaxed. And then he was on me. He had me pinned, with my arm behind my back.” She half acted it out. “He was going to break my arm. I could feel it. He pushed me backward and tore my dress. He fucked me like that on the floor. I kept trying to move my arm but I couldn’t. he pushed down on that side of me like he had practiced it or something. It lasted two minutes, if that.”
Dee gripped her chopsticks tightly.
“He actually called me with this bullshit confession later, fucking crying on the phone. I don’t know why I listened. He wanted to stay friends. He kept saying that.” Val ground a chopstick into the wasabi. “I left my dress under the table in the living room floor. I came home and threw it there. I didn’t touch it. It sat balled up there for weeks. I couldn’t look at it. I would veer to the other side of the room when I walked through, all of that.”
“You don’t talk to people about any of this?” Dee asked.
I am stuck on a scene in my book, Anori. There needs to be something there, but I don’t know what. It begins like this: Dee and Tommy are on the coast of Maine (with Dee’s exotic cat) where they talk about the end of their relationship. A park ranger arrives and tells Dee that exotic animals are not permitted in the state park. The exchange is cordial and the ranger leaves.
But then what? I have a tentative scene of three poachers appearing with a dead moose in the bed of their pickup. The ranger returns and says nothing. The contradiction is the aim. The ranger does nothing because he knows the poachers and will receive compensation. I like the premise of this but don’t know what should happen in the end. It seems that the stakes will have to be raised – Tommy proving himself with bravado or Dee challenging them – but I don’t want this scene to detract from the arc of the novel.
To put into context, the following scene is this: Dee and Tommy return to New York City the next day with Apollo. They spend another night together, and there are moments of hope. Dee begins to reconsider her perspective. But Tommy vanishes early the next morning. Dee is saddened and yet relieved. She returns to her work in Greenland.
Options include: a) Dee and Tommy see the poachers from a distance and leave. (Missed opportunity?) b) Tommy shoots one of them in the foot. And then…they race off to NYC? (Stakes too high?) c) Dee records their confrontation on her phone and threaten to expose the ranger’s corruption. (Convoluted and heavy handed?)
Presently, I am thinking a combination of b) & c). Tommy threatens the poachers and then he and Dee leave the park in a hurry. No one follows. I like the idea, but is it obtuse?
Using dialect can be a very effective device in establishing a character’s voice, although the tendency toward caricature is a real danger. In other words, the character needs to be more than the funny things he says.
Fitz and Eileen are from Twillingate, Newfoundland and are the parental figures for Dee Sinclair in Anori.
“Lord, that Tommy loves the digging.” Fitz drove the pickup truck down the steep road, wheeling wildly back and forth between the puddles and rock. “Looks just like a wee one mucking about in his Smallwoods, that skully of his pulled over his ears.”
“That ain’t no skully.” Eileen had her cigarette perfectly rolled, the loose tobacco strands tucked evenly, in spite of the torturous ride. She looked over at Dee. “Skully is a lady’s bonnet. Fitz is just teasing about our boy doing so well.”
Newfoundlander is such a lyrical language, similar to Irish, so full of witty phrasings and thousands of their own words, that is hard to hold back.
This voice is most effective when delving into the essence of something, developing a theme by mixing profound thought with straightforward language.
“You can’t trust any of these…fellas there, Deirdre.” He crumpled Dee’s hand in his. “You know that better than the rest. We’re amoral by nature, despicable. That’s how we are. Libertines, consuming the flesh. All of us bleeding ownshooks. I don’t like thinking of you being used like that. You’re such a beautiful girl. You radiate the sex. Men are drawn like babies to that.”
As wonderful as jink (praise), dwall (to become unconscious) and skully to use, economy is required, lest the writer appear an ownshook (ignoramus) themselves.
“What’s a Qivittoq?” Dee was getting unbearably cold now, the chill entering her body like it would never leave. “What’s that?” (Extract from Anori)
Choosing the most effective word can be painfully tedious. Is she really unbearably cold? What about terribly cold? Desperately cold? What word translates the feeling for how cold she is? One word works and the other. It goes back and forth in the edit, until the word works as it should. Whatever that means.
A much more immediately satisfying part of writing is the research. Anori is speculative novel set in Greenland and so futuristic elements as well as aspects of Greenlandic culture are needed to develop the setting.
A Qivittoq is a mythological, often evil creature – akin to the Ojibway’s Wendigo – is derived from the custom of banished a person who violates the sacred codes of society.
Thule Air Base also came up in my research, a United States military camp where a B-52G Stratofortress loaded with nuclear weapons crashed in 1968. This led me to think that nuclear weapons might have created a Qivittoq or two.
Other research for Anori included Earth-out-of-view Syndrome (a psychological disorder when one can no longer see Earth), O’Neil Cylinder (mining asteroids in space), Cave Swallows (birds in the Yucatan), dry dock (lifting boats out of the water for repairs) and cantilevers.
The trick of effective research is not allowing it to completing distract the work at hand… unless a book on the trivia of research is to be launched. (Is there a market for that?)
It’s eight months since this pandemic got going, and it looks like another few months (eight?) to go? Yikes! Anyway, I am still accomplishing things, still doing the rehab, getting safely out, breathing and still blogging.
I have applied for a few jobs and, although I did not get the job at The Julliard, I had a solid interview for a job in Paris. No final decisions on that, but I did go to the airport to renew my Global On-Line card.
I’ve made significant progress on my latest edit of the first part of Anori: “A lot to take in? Huh.” She sipped the drink. “First of all, I’m supposed to believe that you’re an interstellar pilot? Is that it? I’m having imaginary drinks in a galactic orb with an interstellar pilot? Is that it?” It’s a mentally taxing affair, but it should be complete in a month when I can take it to another editor and get slaughtered again.
I finished Brian Greene’s exhaustive opus Until the End of Time: Survival rests upon amassing information that accurately describes the world. And progress, in the conventional sense of increased control over our surroundings, requires a clear grasp of how these facts integrate into nature’s workings. Such are the raw materials for fashioning practical ends. They are the basis for what we label objective truth and often associate with scientific understanding. I understood about a third of the book, which is good for me.
I just attended Kate Hudson’s interview of Matthew McConaughey which failed to meet my exceedingly low expectations until Ms. Hudson started to get into her wine.
Mr. McConaughey was under the false pretense that I had tuned in to hear him wax philosophical when all I wanted was ribald tales and a modern-day rendering of his definitive “All right, all right, all right!” from Dazed and Confused. (Truth to be told, the best part of the interview was interpreter, Joe Lucas, just hanging in there.)
I continue to slog through Fishdom, having made it to Level 1821 and avoiding my first purchase (of $4.99), even though the ghost squid and bonus lives were incredibly tempting. I will maintain the purist route, diligently feeding my fish and cleaning my aquariums.
It’s one thing to face the blank page. It’s totally another to face a page that has been edited for ten years. A conservative estimate would be thirty versions, with hundreds of edits and switches. And so, yes, the blank page is nothing compared to that.
I began Anori in 2009. It was my leap into the world of speculative fiction, a challenge to myself. The initial first scene – which lasted over the first few drafts – was of a rocket ship launch, establishing theme, tone and perspective. I mean, the story was headed into outer space. So here we go. But it didn’t work. There was no hook. And so I moved that scene into a snippet on the television in Dee Sinclair’s living room. The book now begins like this…
The perspective remains distant but it is now Dee’s point of view, revealing an deserted world, a place from which she is clearly removed.
The prose are terse. Hopefully ominous too.
Dee, akin to the police car, is isolated and alone.
Immediately upon entering her world, her pet serval Apollo appears, who is the key to the story. Servals are felines from the African savannah. They are meant to be wild but have been domesticated as exotic pets. Apollo is a rescue animal who Dee spends much of her life with alone.
The story carries on: Dee takes Apollo out before the worst of the storm and meets the mysterious Och. It’s how it all begins. I’m just trying to get past all of this and continue on to page three. Fingers crossed.
Given the scathing feedback from my (former) editor, it took me some time to get back at the first book of The Cx Trilogy, Anori. I’ve made it at last and begun the long toil. The current plan is to work on this concurrently with Fuck Pedagogy and see how their orbits might move the tides. Here are the opening pages at present. (Criticisms welcome!)
Dee held hard to the balcony railing as she looked down to Battery Park, all but empty now, neat rows of sandbags banked up against the grates alongside the Custom House, a single police car, its blue lights mute and slow, moving slowly away. They had stopped broadcasting the evacuation order hours ago. Zone A was closed.
The curtains lulled back as Dee slid the balcony door closed. There was a rocket ship on television. Great shards of curved ice calved off its sides, dissolving into a torrent of smoke and steam, as it slowly rose. The cameras cut to a distance perch across the valley, where the rocket could be seen rising from the barren landscape on a halo of brilliant white, a vibrating candle.
She went into the bathroom and turned off the faucet, Apollo lurching after her, his black-striped tail snaking over her shoulder, as he peered into the tub, now full of water. She grabbed at Apollo’s paw. “Want a bath?”
Apollo slid wildly on the tiles, slamming into the door frame as he bound into the living room. She didn’t know why she would even need the water. The storm had been too long hyped, like the one before, Irene. People had talked and tweeted, hoping for the disaster to get worse so they could make money pretending they cared. She watched the spectacle, the cameras now inside the capsule, giving a fish-eye view of the flight instruments, the oblong window to the pilot’s right and the blue-grey glow of her helmet at the bottom of the screen, the ubiquitous Infinity logo on everything. The vanishing rocket rose atop its teetering plume, transforming into a dot, the smoke, once thick, drifted into emptiness.
She changed the channel to the local news. This morning’s high tide was at 8:30 am. That tide surged over the walls into the city this morning, eleven hours ago. That tide has already been here. This tide is a full-moon high tide, just like Irene, only worse; it’s much worse. The weather guy was earnest, his sleeves rolled up, his square jaw pushed out for this soap opera apocalypse announcement. This is the one we have to watch. This one could be anywhere from 12 feet up to 14, 15, 16 feet. 16 feet! Think about that. In just 15 minutes. This is it. The surge is almost here.
“Hurry up.” She grabbed the cat’s leash and opened the door. “Before it’s too late.”
Apollo bolted ahead of her and turned tight circles until the elevator opened, and then pinned himself against Dee’s legs, his head against the silver wall until the doors opened and he could escape to the lobby.
“Apollo!” Hector, large against the glass doors at the front, bent down to Apollo. “My man.”
“Keeping the storm at bay?”
“You shouldn’t have taken the elevator.” He scratched Apollo vigorously down his side. ““They’re going to shut off the power, Miss Sinclair.”
“It’s 28 floors, Hector.”
“The eye of the storm just hit Atlantic City. That just happened.”
She leashed Apollo. “They keep talking about the tide.”
“You see the market. You see that?” He pointed out to the green awning that had flipped around on its moorings, its rusted metal ribs exposed, swelling in and out with the wind, a dying animal against the corner of the building. “You sure you should be going out?”
She thought about telling him how she wanted to see the wall of water coming down the narrows, the boats curled up into its majestic belly, the Verrazano Bridge hidden from view, the Statue of Liberty dwarfed in the shadow of the blue-black water as it rose higher and higher, even if she knew it wouldn’t really be like that. “We’ll be back in a few minutes.”
He stretched his arm against the door, his jacket binding at his giant shoulders and pushed open the door. “Be careful, Miss Sinclair. Lady was killed by a tree today in Queens.”
When I look back on the jobs I’ve done, performance sex was the hardest. I don’t mean how I was judged, and even judged myself, because none of that means anything, or even the unpleasantness at times. Some people really do stink. It was more about making it real. It was rare when I could lose that control, not just have that half open mouth, and give what I knew was expected.
It was when I broke from that, that I got frantic, balancing at the tip, and felt like I might slide sideways, barely hanging on. I would push hard and then stop, do that again and again, all taut and stupid, clinging to this good side of the moment, and keep it like that.
And then I would right into like a mania, straight ahead, nothing else but plowing straight for that full-on orgasm, so much that it was almost I’m made me get mad and crazy, like I was a kid and wanted what I wanted, and would not let go, and skip ahead, my feet barely touching the ground, until I was in it and nothing else. It was really hard work, but there were those moments.
Sex sells. And Dee Sinclair is all about sex. Not just a sex worker, she is a sex performer, taking high-paying jobs to perform for exclusively perverted clients in remote locations such as French Polynesia, Greece and Qatar.
She is an orphan girl, her only sister dead, an alcoholic, drowned. But she won’t talk about that. She won’t talk about anything except her exotic cat, a serval, named Apollo.
She doesn’t actually talk about Apollo either. She doesn’t talk about anything to anyone. She feels herself as distinctly separate, an adjunct, an afterthought, a second thing. She feels like she doesn’t belonged anywhere, except sitting alone on the fire escape. She knows that no one who really cares, that no one who would miss her. She just wants to be left alone.
Dee makes her first appearance in My Bad Side and then in Anori, the first book of The Cx Trilogy. She spends much of her time in the ice-choked emptiness of Greenland, a place she treasures because of its mind-numbing isolation.
And then she is suddenly being chased: Dee watched her hands flash up in front of her face, first one and then the other, fists clenched, just her pinkie out on her left hand. She had heard the helicopter come over the glacier, the rotors reverberating off the ice, sharp and then suddenly faded. She heard nothing now. She was mute. Not her footsteps on the hard ground, not her gasping for breath, not the truck door swinging wildly open, not the engine starting, nothing. Dust swirled up ahead, other trucks going to the launch tower. She couldn’t get the truck to go fast enough. The tunnel took forever. She heard something on the other side, helicopters again, as she headed to the tower. But she couldn’t see. There was only the dust and then Valerie on the edge of the first platform.
As the protagonist, Dee operates as the reader’s stubborn vehicle entering the impossible parameters of science fiction – the space ships, three dimensional internet, artificial skin, and most of all, the idea of leaving Earth for another planet. She doesn’t buy any of it. And neither does the reader. Until it is there and there is no denying it. As much as she (we) can’t accept it, it is there.
Dee works especially well for this book because of her personality. As hard as she tries to separate herself from everyone in the world, she becomes more drawn into a mission that aims to do just that – leave the planet altogether. The irony is that, in her efforts to be apart, she of course becomes deeply committed to the others on the journey into the emptiness.
Thematically, the book is a challenge, as it focuses on abandoning, and ultimately rejecting, our society for something else, and the impossibility of doing that. After all, wherever we go, we are still what we are. And so as impossible as Dee might be to access, it is because of that that she works as an excellent conduit for the book.