The glass apples along my office windowsill are all dusted, because I take them down and play with them sometimes while a story hides in my brain-folds. A lot of people don’t understand how physical a job writing really is–after all, you’re just sitting there, right? Just typing.
But everything you write lodges in your body. Not just that, though–characters speak while you’re in the shower, while you’re exercising, while you’re driving and thinking of something else. Getting up and moving to work out a plot problem or block out a scene becomes a habit.
The kids–and my writing partner–know that when I stop in a middle of a sentence and stare into the distance, sometimes it’s because a story has decided now is the time to express a few home truths, or make a connection. “I can see the story going on behind your eyes,” is what my writing partner says.
The kids, having grown up with me, are used to me checking out mid-sentence to work on a particular plot problem, solving or marking it, then coming back and finishing my sentence as if no time has passed. Oddly, for me, no time has. Sometimes I’m vaguely aware I’ve stopped to solve a story problem, but mostly I return to ordinary consciousness like flicking a light switch and continue with what I was saying.
Story-time exists on some other plane, I suppose. Of course the check-outs never occur while I’m operating heavy machinery, so to speak. One must feel safe before one can stop in the middle of a sentence, knowing that one’s interlocutor will give you space and time to finish.
My writing partner does it too, you know. Often, especially when we’re at lunch or dinner together, one of us will stop talking and gaze into the distance, our version of the thousand-yard stare. The other will wait, quietly, until they come back. It’s a good thing, to be able to trust someone with the quiet like that. Everyone is the star of their own movie, of course, but it’s rare and wonderful to find someone who doesn’t mind being the type of star who lets their best friend finish a chain of thought in peace, and doesn’t make them pay for the momentary inattention later.
The kids have their own moments of wanting to finish thoughts in peace, and I’ve seen them giving each other that space and gift. It seems good training, even if other people will probably take advantage of it. But at least they have the skill, and can deploy it when needed.
…I was going to write about other things today, but I’m curled in a tight little armored ball. I am very close to finishing a zero of The Bloody Throne–messy and full of bracketed notes, but still, the whole corpse will be out and on the table, ready for resting before revision begins. I can’t imagine what it will feel like to be done with this book. The entire series has had a difficult birth; I haven’t had this sort of emotional trouble with a book since Afterwar. Of course it’s not the same type of trouble, or in the same degree, and the problems that plagued Afterwar‘s publication process aren’t plaguing this series. Still, being orphaned midway, added to pandemic and fascist coup, means it’s been extraordinarily difficult to persevere through the end of an epic fantasy.
I mean, how dare I write about court intrigue and pretty dresses and love triangles when the world is burning? How dare I write a love song while everything is in flames?
I have no choice. I have to sing, even through the fire. I’ll go mad if I don’t, but it doesn’t stop the feeling that somehow, in some way, I’m failing because I’m Not Helping Enough.
So. Today is for chipping away at the book, accelerating through the crisis I saw from the very first sentence, writing what I’ve been working towards for years. I knew how the entire thing was going to play out from the beginning, and maybe that’s part of the problem. In a book, justice is a possibility.
I’m beginning to feel like outside the pages I write, it never is. Hope, mercy, redemption… in a book, these things are possible.
I suppose we’ll see.